{"title":"LIGHTING","description":"","products":[{"product_id":"brass-and-ceramic-table-lamp-from-stiffel","title":"TALL STIFFEL BRASS AND CERAMIC TABLE LAMP","description":"\u003cp\u003eA magnificent mid-century solid brass table lamp from the STIFFEL LAMP COMPANY, possibly by designer Edwin Cole. The silky crackle glaze that covers its clay body gradates between celadon and seafoam. The lamp's height to the top of the milk glass diffuser is 38 ½\" and its diameter 8\". Verticality is accentuated with the addition of a vintage drum shade, yielding an overall height of 50\". This lamp has been outfitted with a three-way socket and a two-way in-line switch.\u003c\/p\u003e\n\u003cp\u003eThe STIFFEL LAMP COMPANY was founded in 1932 by Ted Stiffel (1899–1971) in Chicago, Illinois. Stiffel's ambition was to manufacture portable light fixtures that were intelligently designed and accessibly priced. His dedication to excellence would soom establish the firm as the industry's quality leader.\u003c\/p\u003e\n\u003cp\u003eRaised in Memphis, Stiffel initially pursued a music career. After discharge from service in World War I, he worked for Western Electric in Chicago and then for the lighting firm, Nellie J. Kaplan Co. His own firm began operations by supplying lamps to regional department stores. By the 1940s it owned a factory large enough to produce the volume required for national distribution. STIFFEL was eventually competing with the likes of Frederick Cooper. Its output was celebrated both for its splendid design and the precise craftsmanship it evinced.\u003c\/p\u003e\n\u003cp\u003eDuring World War II, STIFFEL opened a machine screw department to produce bolts for anti-aircraft guns and other components for the war effort. The government contracts were withdrawn following V-J Day in 1945. Architect and designer Edwin J. Cole (1904-1992) joined the firm in 1948. Cole would be responsible for some of STIFFEL's most striking designs. Today his vintage creations—often lamps with distinctively tall and shapely ceramic bodies, sometimes finished with chinoiserie details in brass—are highly sought after by collectors.\u003c\/p\u003e\n\u003cp\u003eThe STIFFEL LAMP COMPANY has contributed much to the lighting industry over the years: innovations such as the vertical pole lamp and inventions such as the patented Stiffel Switch—not to mention unparalleled accomplishments in design. Following a bankruptcy in 2000, the brand was revived in 2013 in Linden, New Jersey, where newly produced, high-quality lamps again carry the STIFFEL name.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eSTIFFEL LAMP COMPANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eHOLLYWOOD REGENCY; BOHO CHIC; MEDITERRANEAN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eBRASS, CERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCELADON\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE 'A' PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eVery good vintage condition; without defects, but showing slight traces of use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e8\" DIAM. × 50\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":51845978116,"sku":"TALL STIFFEL BRASS AND CERAMIC TABLE LAMP","price":1250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/IMG_20230622_135352-01.jpg?v=1687467289"},{"product_id":"large-geometric-relief-pattern-ceramic-table-lamp","title":"LARGE GEOMETRIC RELIEF PATTERN CERAMIC TABLE LAMP","description":"\u003cdiv class=\"custom-description\"\u003e\n\u003cp class=\"product-text\"\u003eThis 60s-era, American, ceramic table lamp features a glaze of swirling shades of green, yellow, gold, blue, and brown applied over a bold, geometric, relief pattern.  With a golden neck and base.  The shade is original with matching trim and in excellent vintage condition.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"grid-details\"\u003e\n\u003cp\u003eDesign Period – \u003cspan\u003e\u003cb\u003e1960-1969\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eCountry of Origin – \u003cspan\u003e\u003cb\u003eUSA\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eMaterials – \u003cspan\u003e\u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eColors – \u003cspan\u003e\u003cb\u003eMULTICOLOR\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e\u003cb\u003e, GOLD\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"multi\"\u003eCondition – \u003cspan\u003e\u003cb\u003eVERY GOOD\u003c\/b\u003e\u003c\/span\u003e\u003cspan\u003e (no defects; may show slight traces of use)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003ePlug – \u003cspan\u003e\u003cb\u003eN. AMERICAN\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eHeight (in.) – \u003cspan\u003e\u003cb\u003e45.5\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eDiameter (in.) – \u003cspan\u003e\u003cb\u003e18.0\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":51845997316,"sku":"LARGE RELIEF PATTERN CERAMIC TABLE LAMP WITH ORIGINAL SHADE","price":765.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/glazed-patterned-ceramic-lamp-1.jpg?v=1506039584"},{"product_id":"taupe-lava-glazed-lamp","title":"TAUPE LAVA-GLAZE TABLE LAMP WITH MILK GLASS DIFFUSER","description":"\u003cp\u003eA slender and shapely, seashell-taupe table lamp with a bubbly fat lava glaze, brass fittings, and a milk glass diffuser. It measures 30\" in height to the diffuser's brim, which has an 8\" diameter. Some tarnishing to metal surfaces.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC, METAL, GLASS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCELADON\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eDIFFUSER INCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 110V (US STANDARD), CORDED, TYPE 'A' PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eVery good vintage condition with some tarnishing to metal surfaces.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e8\" DIAM. × 30\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":51846039876,"sku":"TAUPE LAVA GLAZE TABLE LAMP WITH MILK GLASS DIFFUSER","price":350.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/taupe-lava-glazed-lamp-1.jpg?v=1506039647"},{"product_id":"mid-century-1950s-james-mont-style-frederick-cooper-verdigris-bronze-lamp-252745069973","title":"BRONZE FREDERICK COOPER TABLE LAMP IN THE STYLE OF JAMES MONT","description":"\u003cp\u003eA bronze, Asian-themed table lamp with a verdigris patina, produced in the style of James Mont by the FREDERICK COOPER LAMP COMPANY of Chicago, Ill. The Chinoiserie urn-form lamp body is adorned with a flared rectangular silk shade and a ball finial.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eFREDERICK COOPER LAMP COMPANY\u003c\/b\u003e grew out of a workshop established in 1923 by Chicagoan Frederick Cooper. Initially focused on sculpture and watercolors, Cooper’s interest shifted to electric lamps, a relatively new invention at the time, when only half of American households had home lighting. Inspired by the architectural grandeur of Chicago, Cooper began crafting unique lamps with intricate details, frequently incorporating the chrome finishes and geometric angles of the popular Art Deco style. By combining materials such as brass, ceramics, glass, and wood, Cooper gained recognition for his forward-thinking approach.\u003c\/p\u003e\n\u003cp\u003eEventually, Cooper sold his company to Benjamin Markle and Russian immigrant Leo Gershanov. Under their stewardship after WWII, the FREDERICK COOPER flourished, and the local artisans at the Stiffel Lamp Company gained a formidable competitor. The timing was particularly ripe as the demand for table lamps to furnish new houses was exploding, and the company built on Cooper’s artistic reputation and his signature styles prospered.\u003c\/p\u003e\n\u003cp\u003eThis was the beginning of a manufacturing tradition that endures today as the brand, FREDERICK COOPER. Over decades, many other lamp businesses faded away, while FREDERICK COOPER held steady, building on a carefully guarded reputation for distinctive styles and superb quality. FREDERICK COOPER lamps have been used in the Whitehouse, US embassies, and luxury resorts around the world.\u003c\/p\u003e\n\u003cp\u003eLighting designers at FREDERICK COOPER innovated in the years that followed, integrating alluring materials like painted porcelain, marble, and jade. Apart from the classic Art Deco designs that defined the studio’s early work, the company’s craftsmen experimented with Asian-inspired designs and produced floor lamps, wall lights, modernist chandeliers, and other fixtures in varying furniture styles such as Neoclassical, Hollywood Regency, and Empire.\u003c\/p\u003e\n\u003cp\u003eDesigners such as Larry Laslo, Alexander Julian, Mario Buatta, and Studio Mascheroni contributed to the supply of fresh new designs. FREDERICK COOPER is perhaps equally famous for its shades, which rise above market standards due to designers’ choice of fabrics, shapes, colors, and details.\u003c\/p\u003e\n\u003cp\u003eIn 2011 Wildwood Lamps purchased the FREDERICK COOPER brand and continues the tradition of producing high-quality luxury lighting. Today, the name FREDERICK COOPER still stands for superlative design and traditional craftsmanship.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eafter JAMES MONT\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eFREDERICK COOPER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eASIAN ANTIQUE; HOLLYWOOD REGENCY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eBRONZE, TEXTILE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBRONZE, BROWN, VERDIGRIS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE “A” PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eGreat vintage condition. May show slight traces of previous use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e16\" W × 8\" D × 29 ½\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":2515752845351,"sku":"BRONZE FREDERICK COOPER TABLE LAMP IN THE STYLE OF JAMES MONT","price":1450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20220328_152523-01.jpg?v=1648502906"},{"product_id":"mid-century-modern-industrial-foundry-mold-pr-table-lamps-steampunk-machine-age-131636790966","title":"PAIR OF INDUSTRIAL FOUNDRY-MOLD TABLE LAMPS","description":"\u003cp\u003eA pair of “steampunk” table lamps fashioned from antique wooden foundry molds. Both molds date to the early 20\u003csup\u003eth\u003c\/sup\u003e century and bear hand-carved numerical designations—91N and 92N, resp.—betokening their common origin. The painted wood remains in “as-found” condition and has aged naturally; nothing was done to alter its appearance or texture. For this reason, we ask that you inspect the photos closely to ensure that you find nothing objectionable. Our advice would be to leave them in their present condition!\u003c\/p\u003e\n\u003cp\u003eFoundry molds of this sort were pressed into large containers filled with a plastic medium, typically sand. Liquid metal was then poured into the resulting imprint to produce a cast.\u003c\/p\u003e\n\u003cp\u003eAntique molds are increasingly hard to find. They are scooped up either for their sculptural value as “found” art—or, as here, to be repurposed as lamp bases, table legs, or in other furnishings as mementos of America’s Machine Age and a witness to its impact on the culture of the Modern era. Note: the height of the socket is adjustable up and down via a set screw on the brass tube.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1920s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1920s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eINDUSTRIAL; MODERN; RUSTIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eWOOD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBLACK, BRASS, BROWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE “A” PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eThe foundry mold was well-used before it was converted into lamps. The rustic quality was intentionally preserved; restoration is not advised.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e13\" W × 7 ¼\" D × 27\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":2515797114919,"sku":"INDUSTRIAL FOUNDRY MOLD TABLE LAMPS (PAIR)","price":995.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20250111_124838.jpg?v=1736622345"},{"product_id":"symfoni-pendant-chandelier-by-preben-dahl-dal-lyfa-lamp-mid-century-modern-152384752041","title":"‘SYMFONI’ PENDANT BY PREBEN DAL FOR HANS FØLSGAARD (1960s)","description":"\u003cp\u003eA spectacular pendant light fixture from Preban Dal's legendary 'Symfoni' series, designed in the early '60s for Hans Følsgaard Elektro A\/S of Denmark. The steel frame is painted white and gray and comprises rings of rhomboid facets—evoking origami—that diffuse the internal light and scatter it in visually interesting patterns. It is fully functional and in very good vintage condition, showing some age-appropriate wear and a limited amount of oxidation.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003ePREBEN DAL\u003c\/b\u003e largely remains a mystery. Thanks to a vintage advertisement printed in an early issue of the historic Danish design magazine \u003ci\u003eMobilia\u003c\/i\u003e, were persuaded that the correct spelling of his surname is 'Dal' rather than 'Dahl.' More importantly, it is very well documented that he designed the fantastic and immediately recognizable 'Symfoni' range of pendant lamps and sconces in the very early 1960s for the lighting manufacturer HANS FØLSGAARD A\/S of Copenhagen. Further snippets of somewhat less certain biography include an alleged partnership with a Danish architect named Ole Bang, from 1959 to 1976, and the publication in 1957 of a pamphlet on Greek temples and, in 1969, of a book entitled \u003ci\u003eFritidshuset\u003c\/i\u003e about the architecture of vacation homes.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003ePREBEN DAL (1929–1980)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eHANS FØLSGAARD A\/S\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eDENMARK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eDANISH MODERN; SPACE AGE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eSTEEL, ENAMEL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eWHITE, GRAY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), HARDWIRED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eVery good vintage condition; without defects, but showing slight traces of age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e15\" DIAM. × 15\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":2626985328679,"sku":"'SYMFONI' PENDANT LAMP BY PREBEN DAHL FOR HANS FØLSGAARD","price":1960.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20221021_172032_1-01.jpg?v=1689787364"},{"product_id":"chinoiserie-art-deco-table-lamp","title":"1920s ART DECO CHINOISERIE TABLE LAMP","description":"\u003cp\u003eA spectacular, chinoiserie Art Deco table lamp in solid-cast brass from the 1920s or ’30s. The theatrical bamboo motif features a pair of dragon-form rhizomes (see detail photos)! Recently rewired. Practically all of the original, patinated fittings have been retained.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1920s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1920s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eNORTH AMERICA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eART DECO; CHINOISERIE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eBRASS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE “A” PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eVery good vintage condition. Retains original patina. Rewired with a braided cloth cord. Paired with a vintage shade and finial.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions - \u003cb\u003e18ʺ W × 13ʺ D × 33ʺ H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":14439975387178,"sku":"CHINOISERIE TABLE LAMP - SOLID BRASS (1920-30s)","price":1240.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/brass-bamboo-dragon-lamp-1.jpg?v=1555423974"},{"product_id":"marcello-fantoni-table-lamp","title":"MARCELLO FANTONI NEOCLASSICAL TABLE LAMP","description":"\u003cp\u003eA voluptuous and very early table lamp, with a classical décor, by Marcello Fantoni, “the master of beauty.” It embodies the tension, typical of Fantoni’s work, between the dual legacies of ancient and traditional Italian pottery and an arch conformance to the ideals of the Modernist and progressive movements.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eMARCELLO FANTONI (1915-2011)\u003c\/b\u003e was born in Florence in 1915. He began his studies at the Instituto d’Arte Porta Romana in Florence at the age of twelve under the great ceramicist Carlo Guerrini, then the creative director of the famed Cantagalli Factory. Fantoni’s training in the arts included sculpture classes with Libero Andreotti and Bruno Innocenti and instruction in figure drawing with the painter Gianni Vagnetti; he finally graduated from the institute as a maestro in 1934. Upon completing a stint as the art director of a ceramics factory in Perugia, he opened the Fantoni Ceramic Studio in Florence in 1936 where he produced both serial and one-of-a-kind pieces, the latter including sculptures and furnishings. In 1937 his work was shown in the Florence National Arts and Crafts Exhibit. Its decoration—with painted figures and African and marine motifs—and its rustic forms captured a great deal of attention. By the onset of World War II at the decade’s end, Fantoni’s integration of decidedly Modernist elements with ancient Italian pottery techniques had brought him artistic and commercial success, at home and abroad.\u003c\/p\u003e\n\u003cp\u003eIn the initial years after the War (during which he had participated in the Italian resistance) Fantoni worked for the 500-year-old Maiolica factory in Deruta, Umbria, renowned for its signature tin-glazed pottery. In the 1950’s he refocused on his studio in Florence, dedicating himself to larger sculptural pieces and working together with collaborators. Fantoni’s post-war work, with its technical mastery and wholly unique abstract style, helped push ceramics into the sphere of the serious. It raised the profile of Italian ceramics in particular, laying the groundwork for their lasting prestige. Fantoni drew from varied influences—Primitivism, Novecento style, Cubism, and Abstract Expressionism—experimenting with materials and forms alike. A special emphasis on ancient Etruscan techniques, glazes, and colors heightened the timelessness of much of his work. In addition to clay, he frequently worked in metals to great effect. Every Fantoni piece was ultimately rendered unique by his hand-painting of it. His painting style remains one of the most identifiable qualities of his creations.\u003c\/p\u003e\n\u003cp\u003eIn 1970 Fantoni founded the International School of Ceramic Art, dedicated to teaching ceramic arts and experimentation. Many of his students and employees have gone on to become noteworthy artisans and artists in their own right. Fantoni maintained great versatility throughout his career and completed large-scale projects for public and private buildings. When he died in Florence in 2011 at the age of 95, his obituary in the Italian newspaper La Nazione hailed him “the master of beauty.”\u003c\/p\u003e\n\u003cp\u003eThe following museums hold works by Fantoni: MoMA New York, Metropolitan Museum of Art of New York, Brooklyn Museum, Museum of Fine Art of Boston, Victoria and Albert Museum of London, Royal Scottish Museum of Edinburg, Museums of Modern Art of Tokyo and Kyoto, International Museum of Ceramics in Faenza, National Bargello Museum and Gabinetto Disegni e Stampe of the Uffizi in Florence.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eIf done with passion, it becomes fashion.\u003c\/i\u003e – MARCELLO FANTONI\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eMARCELLO FANTONI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eFANTONI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eFIGURATIVE; ITALIAN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003ePOTTERY, METAL, SILK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eSKY BLUE, LIGHT GRAY, PINK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE “A” PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eVery good vintage condition with minor signs of previous use. The lamp body has been built and modeled completely by hand, and glazed in pastel colors with a crackle-type glaze that crazes in firing. The methods of production used give the surface an appearance of age; what may at first appear to be imperfections, are in reality intentional.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e18\" DIAM. × 27 ½\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":14504325972010,"sku":"MARCELLO FANTONI TABLE LAMP - ITALY (1950s)","price":1900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/snapseed-304.jpeg?v=1607650523"},{"product_id":"alfredo-barbini-murano-glass-table-lamp","title":"ALFREDO BARBINI MURANO GLASS TABLE LAMP","description":"\u003cp\u003eA 1960s Murano glass table lamp by Alfredo Barbini in a glorious shade of aqua. The fluted, tapered body of bullicante crystal with gold foil inclusions is newly set on a base of Carrara marble and paired with a lovely, vintage, faceted finial and a new shade. The lamp is completely restored with a three-way socket and new wiring.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eALFREDO BARBINI (1912–2007)\u003c\/b\u003e was an Italian glass artist and designer primarily known for sculptures rendered in a signature vetro \u003ci\u003esommerso\u003c\/i\u003e (submerged) technique, where colors or additional pieces are seamlessly introduced to the larger whole. He was born on the islands of Murano in 1912. Both parents came from prominent glassmaking families. Barbini learned the traditional techniques of glassblowing in his teens as an apprentice at the Cristalleria Franchetti and the S.A.I.A.R. Ferro-Toso; by age 20 he was a recognized Maestro. Briefly employed at a workshop in Milan in 1932, he returned to Murano to work first at the newly formed Zecchin-Martinuzzi firm and then with Seguso Vetri d'Arte. From 1936 to 1944 he was a partner and master glassblower at Societa Anonima Vetri Artistici Murano (aka S.A.V.A.M.).\u003c\/p\u003e\n\u003cp\u003eFollowing WWII, Barbini collaborated successively with the artists Archimede Seguso and Napoleone Martinuzzi, and then partnered at Vetreria Vistosi, and later with the artist Gino Cenedese. In 1950 he started his own furnace, Vetreria Alfredo Barbini (reorganized in 1983 as Alfredo Barbini SRL). The firm exhibited his work at the Venice Biennales from 1950 to 1961.\u003c\/p\u003e\n\u003cp\u003eThroughout his career, Barbini experimented with glass’s plasticity, creating delicately colored organic and biomorphic objects as well as figurative models and animals. He died in Venice in 2007.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003eMurano’s reputation as a center for glassmaking began near the end of the 13\u003csup\u003eth\u003c\/sup\u003e century, when fearing fire the Venetian Republic ordered all glassmakers to move their furnaces to its islands.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eALFREDO BARBINI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eALFREDO BARBINI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eITALIAN, MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eMURANO GLASS, CRYSTAL, CARRARA MARBLE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eTURQUOISE, GOLD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE “A” PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eVery good. Lamp body of bullicante crystal is newly set on a base of Carrara marble and paired with a vintage finial and a new shade.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e19\" DIAM. × 32\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":14600949006378,"sku":"ALFREDO BARBINI TABLE LAMP - BULLICANTE MURANO GLASS (restored)","price":2250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200326_170821-01.jpg?v=1590513757"},{"product_id":"urbano-zaccagnini-table-lamp-1940s","title":"1940s URBANO ZACCAGNINI TABLE LAMP","description":"\u003cp\u003eA prodigious, 1940’s Urbano Zaccagnini table lamp on a heavy mahogany base. The hand-thrown ceramic body is covered in a glossy white glaze and decorated with thick, horizontal striations and dark bands of Asian-inspired ornaments—as characteristic of much of Zaccagnini’s work from this period. We’re not sure we've seen another ZACCAGNINI lamp quite this large. Standing 4' tall (to the top of the shade), this one could even work as a floor lamp in some situations. (NOTE: the width and depth cited in the Details section reference the diameter of the shade; the lamp itself has a diameter of 10\" at its greatest point.)\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eZACCAGNINI\u003c\/b\u003e was originally founded in Florence in 1905 as Ugo Zaccagnini \u0026amp; Figli (...\u0026amp; Children). Its namesake and founder, Ugo Zaccagnini (1868-1937), was born in Pistoia in Tuscany and studied at the Scuola di Disegno Industriale in Sesto Fiorentino. He next worked as a plaster modeler for the Richard-Ginori Ceramic Company in Sesto before opening a studio of his own in that municipality. It closed in 1896 when Zaccagnini entered into a partnership with six of the most talented artisans and craftsmen in Florence of the time: Egisto Fantechi, Luigi Ceccherini, Augusto Fantini, Francesco Grassi, Paolo Banchelli, and Giuseppe Conti. The enterprise was called La Societa Industriale per Fabbricazione della Maioliche Artistiche (the Society for Industrial Fabrication of Majolica Art) and known by the acronym SIFMA. Zaccagnini served as master sculptor and model maker during his years with SIMFA. Production was confined to the recreation of traditional majolica in the Renaissance style of the 15th and 16th centuries for which Italy was then famous. Zaccagnini, in the meantime, had grown increasingly enamored of the current Art Nouveau movement; he saw in its elements unprecedented freedom of design possibilities. This artistic difference would eventually lead to SIFMA’s breakup. In 1905 Zaccagnini left to once again open a factory of his own in Florence, this time with the help of sons Pietro, Urbano, and Prisco and daughters, Adele and Enrichetta. The new studio produced the standard offerings of the traditional Italian potter, but it was Zaccagnini’s new and surprising artistic creations that caught the attention of the art world. He would eventually become famous for both his Art Nouveau and, later, his Art Deco figures. The latter in particular are highly prized today. In 1912 the company relocated to Florence’s Piazza Pier Vettori where it boosted output. Zaccagnini exhibited at the Florence Crafts Exhibits, as well as the Milan Triennale and Trade Fair. In 1928 the factory was again expanded, taking over the industrial complex of a former fireworks factory on Via Monte Oliveto. The complex was set up like a village for its craftsmen, with individual houses serving as workshops.\u003cbr\u003e\u003cbr\u003eZaccagnini père passed away in 1937 at the age of 69. His firm’s overall management became the responsibility of his second eldest son, Urbano Zaccagnini (1901-1964), and its name was changed to Società Anonima Ceramiche Zaccagnini. A new logo was created —a capital “Z” with a squiggly line through it meant to represent Monte Oliveto. Zaccagnini fils immediately set about to change the company’s direction. With the help of entrepreneur Aristide Loria, he modernized production technology and enlarged capacity. Urbano Zaccgnini serving as artistic director, ZACCAGNINI collaborated on designs with new artists: Mario Bandini, Ottorino Palloni, Maurizio Tempestini, Gino Pozzi, renowned ceramist Leopold Anzengruber, majolica painter U. Ciardella, sculptor L. Contini, and Fosco Martini. The factory’s production focused almost exclusively on decorative wares at this time. A line of very popular animal figurines and graceful women in the Art Deco style was developed, and the company began to export its products, with North America as the primary target. Ties with American importers were cultivated, Zaccagnini personally making numerous trips to meet with American clients face to face. ZACCAGNINI figurines began appearing in stores such as Tiffany’s. In 1938 Zaccagnini obtained a license from Walt Disney Productions to create, in clay, Disney Studios’ famous animated characters. The fame of the ZACCAGNINI name in the US was thus ensured. It was Mario Bandini who had quickly modeled Snow White and the Seven Dwarfs, produced for sale at the Italian national preview of the feature at the Cinema Teatro Verdi (owned by former SIFMA partner, Egisto Fantechi). Though expensive, all available pieces sold out immediately. All were personally signed by Zaccagnini and marked “W1.”\u003c\/p\u003e\n\u003cp\u003eZACCAGNINI would eventually produce more than 150 Disney figurines—the likes of Donald Duck, Pluto, Pinocchio, Alice in Wonderland, and Peter Pan—all in a special crystalline glaze secretly made in its factory. The firm also created Disney salt-and-pepper shakers, children’s plates, cups, mugs, and other assorted Disneyana; some figurines today command prices in the thousands of dollars. Inactive during WWII, ZACCAGNINI reopened in 1945. In 1947 it was commissioned to manufacture reproductions of ancient ceramics for New York's Metropolitan Museum of Art. ZACCAGNINI reached peak production in the late ’40s and ’50s, during which time many simpler Modernist-inspired ceramic works were produced, as well as an abstraction-inspired line called ‘Svedese’ (Swedish). In 1950 a number of ZACCAGNINI ceramics were exhibited in the Italian Crafts Exhibition at the Brooklyn Museum. In the US, much of the work from this period was likened to the “Hollywood Regency” style, then en vogue, as it combined classical and modernist traits together with more opulent decorative flourishes. By now ZACCAGNINI was exporting all over the world and fast becoming collectible.\u003c\/p\u003e\n\u003cp\u003ePietro, Zaccagnini’s older brother, died in 1954. In 1958, after twenty years of successful leadership, Zaccagnini left the company to open his own ceramics studio, Urbano Zaccagnini Ceramiche Artistiche. He passed away in 1964, as did his younger brother Prisco the following year. This left the company to the sisters Adele and Enrichetta, as well as Ugo Zaccagnini’s grandchildren. It continued to operate, but much of its former luster had been lost. In the 1980s the firm turned exclusively to the production of ceramic bases for high-end lamp manufacturers. Many of these were created using Art Nouveau and Art Deco molds from the ’30s and ’40s. They often bear the Zaccagnini signature and command premium prices. ZACCAGNINI closed its doors in 2000, but many family members have since opened their own studios in and around Florence.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eURBANO ZACCAGNINI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1940s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eZACCAGNINI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1940s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eITALIAN; MID-CENTURY MODERN; MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC, MAHOGANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eWHITE, SIENNA, TAUPE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE “A” PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e16\" DIAM. × 48 ½\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":14622089936938,"sku":"URBANO ZACCAGNINI TABLE LAMP - CERAMIC \u0026 WOOD (1940s)","price":972.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/snapseed-933.jpeg?v=1564345747"},{"product_id":"hollywood-regency-ceramic-ginger-jar-lamp","title":"BLUE CERAMIC HOLLYWOOD REGENCY GINGER JAR TABLE LAMP","description":"\u003cp\u003eA very handsome ginger jar lamp in Prussian blue ceramic. It features patinated, antique brass fittings; a modified-drum shade in golden silk; and a black, chinoiserie, carved-wood base.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eCHINOISERIE; HOLLYWOOD REGENCY; TRADITIONAL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eBRASS, CERAMIC, TEXTILE, WOOD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBLUE, BLACK, BRASS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE “A” PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eVery good: this item has no imperfections, but may show slight signs of previous use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e17\" DIAM. × 29\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":31277680918570,"sku":"BLUE CERAMIC HOLLYWOOD REGENCY GINGER JAR TABLE LAMP","price":650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200124_133403-01.jpg?v=1579896424"},{"product_id":"marcello-fantoni-torch-cut-sconce-with-amber-murano-shades","title":"TORCH-CUT BRONZE SCONCE WITH AMBER MURANO GLASS SHADES BY AHLSTRÖM \u0026 EHRICH FOR A\u0026E DESIGN","description":"\u003cp\u003eA large, brutalist torch-cut bronze sconce by Tom Ahlström and Hans Ehrich for A\u0026amp;E Design, consisting of several pierced hollow metal tubes welded together on a metal frame in a brutalist fashion, and housing two integrated electrical light sources diffused with amber Murano glass shades.\u003c\/p\u003e\n\u003cp\u003eTOM ALHSTRöM, born on May 30, 1943, is a renowned Swedish industrial designer and the visionary co-founder of A\u0026amp;E Design. Alongside his identical twin brother, Stig, he was born in the vibrant city of Helsinki, Finland, to a Swedish-speaking Finnish mother and a Swedish father who thrived in the steel industry.\u003c\/p\u003e\n\u003cp\u003eAfter growing up in Västerås, Sweden, Tom ventured to the dynamic capital of Stockholm in 1964, where his creative journey would truly begin. Ahlström honed his craft at the prestigious University College of Arts, Crafts and Design in Stockholm, focusing on crafts and silversmithing. It was during this formative time that he met the talented Hans Ehrich, and in 1968, they joined forces to establish A\u0026amp;E Design (Ahlström and Erich). Together, they transformed the design landscape with innovations like the 1230 Diskborsten, an iconic dishwashing brush for Jordan A\/S that sold millions of units worldwide. They also revolutionized the shopping experience with the ticket dispenser and numeric split-flap display for the AB Turn-O-Matic M80 Könummersystem. This queue number system has become a staple in supermarkets everywhere.\u003c\/p\u003e\n\u003cp\u003eThe impact of Ahlström and Ehrich’s designs has been recognized in some of the world’s most esteemed museums, including the Möbeldesignmuseum, Nasjonalmuseet, Röhsska Museum, Nationalmuseum, Vitra Design Museum, and Pinakothek der Moderne in Germany, as well as the illustrious Museum of Modern Art in New York. In 2018, the Nationalmuseum in Stockholm hosted a retrospective exhibition honoring their remarkable contributions to design. This captivating showcase featured handcrafted models, prototypes, sketches, drawings, and finished products from the A\u0026amp;E Design archive, which the duo generously donated to the museum in 2015. It was an extraordinary opportunity for visitors to immerse themselves in the genius of Ahlström and Ehrich, celebrating their enduring legacy in the world of design.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eHANS EHRICH, born on September 25, 1942, is a renowned Swedish industrial designer who made a significant impact in the design world by co-founding A\u0026amp;E Design with his partner, Tom Ahlström, in 1968. Even today, he continues to manage the company, a testament to his dedication and passion for design. From 1982 to 2002, he also served as the CEO of Interdesign, another design firm based in Stockholm. Ehrich is celebrated internationally as one of Sweden's top product designers and is often affectionately referred to as the “Grand Seigneur” of Swedish industrial design. He currently divides his time between Stockholm and Berlin.\u003c\/p\u003e\n\u003cp\u003eEhrich's story begins in Kulosaari (now part of Helsinki), where he was born to a Swedish mother, Liten-Karin Sundberg, and a German artist father, Otto Ehrich, who moved to Finland in 1936. During the Finnish Continuation War in 1944, Hans and his family found safety in Sweden.\u003c\/p\u003e\n\u003cp\u003eHans's education was quite the adventure as he grew up and learned in various countries, including Finland, Sweden, Germany, Switzerland, Spain, and Italy. He completed his German higher school examination (Abitur) at the Scuola Germanica di Roma in Italy. Even as a teenager, he was already showcasing his artistic talent, creating innovative design sketches for car interiors at the age of 16.\u003c\/p\u003e\n\u003cp\u003eBetween 1962 and 1967, Hans studied metal crafts, with a focus on silver and goldsmithing at the University College of Arts, Crafts and Design (Konstfack) in Stockholm. He mixed his studies with internships at Italian car manufacturers in Milan and Turin, where he had the chance to meet industry legends like Giorgetto Giugiaro.\u003c\/p\u003e\n\u003cp\u003eHans's love for cars shone through in his projects, such as the “Two Door Sports Coupé” and the “2.5 Litre Gran Turismo Convertible.” His standout project at Konstfack in 1967 was the “Optima,” a three-seat electric town car. It was a mock-up, but it generated a lot of buzz and even won first prize at the Ford design competition held in Munich!\u003c\/p\u003e\n\u003cp\u003eIn 1968, Tom Ahlström, who was to become Hans's future business partner, designed a complete furniture collection in plastic for his graduation project, paving the way for them to start A\u0026amp;E Design together.\u003c\/p\u003e\n\u003cp\u003eA\u0026amp;E Design quickly gained recognition for its innovative and user-friendly products. Their first breakthrough came when they designed a paintbrush with an ergonomic grip, which proved to be a huge success. From there, they went on to create an array of innovative products using various plastics and production techniques.\u003c\/p\u003e\n\u003cp\u003eTheir impressive lineup includes the popular “1230” dishwashing brush, the “Fresh” bath board, the “Clean” shower and toilet chair, and the “Stockholm II” folding stool. The folding stool is especially loved – it's found in over 1600 museums around the world, providing comfort to visitors!\u003c\/p\u003e\n\u003cp\u003eOne of Hans's noteworthy creations is the “Turn-O-Matic M80,” a queue ticket dispenser designed in 1974. This clever design even made it onto a stamp in 2005, celebrating Swedish design during “The Year of Design.”\u003c\/p\u003e\n\u003cp\u003eMany of A\u0026amp;E Design's fantastic products are part of the permanent collections at prestigious institutions, including the Nationalmuseum, the Museum of Modern Art (MoMA) in New York, and the Pinakothek der Moderne in Munich. Over the years, they've picked up numerous awards, including 14 “Excellent Swedish Design” accolades and five “Red Dot” awards. Hans has proudly served as a jury member for the “red dot design award” since 2002.\u003c\/p\u003e\n\u003cp\u003eIn 2022, Hans took a big step to give back to the design community by founding the \"Foundation for Industrial Design.\" This initiative aims to support a young, talented industrial design student with a scholarship and diploma. Four esteemed professors from top design universities each recommend a candidate, and the jury selects the winner of “The Hans Ehrich Design Award for Excellent Young Industrial Design.” The award ceremony was held in Vitemölla, and in 2022, the prize amount was SEK 85,000, helping to inspire the next generation of designers.\u003c\/p\u003e\n\u003cp\u003eDetails\u003c\/p\u003e\n\u003cp\u003eDIMENSIONS\u003cbr\u003e10ʺW × 7.25ʺD × 24ʺL\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eSTYLES\u003cbr\u003eBrutalist\u003cbr\u003eSwedish\u003cbr\u003eMid-Century Modern\u003c\/p\u003e\n\u003cp\u003eLAMP SHADE\u003cbr\u003eIncluded\u003c\/p\u003e\n\u003cp\u003eBRAND\u003cbr\u003eA\u0026amp;E Design\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eDESIGNER\u003cbr\u003eAhlström and Ehrich\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003ePERIOD\u003cbr\u003e1960s\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003ePLACE OF ORIGIN\u003cbr\u003eSweden\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eITEM TYPE\u003cbr\u003eVintage, Antique or Pre-owned\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMATERIALS\u003cbr\u003eBronze\u003cbr\u003eMurano Glass\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCONDITION\u003cbr\u003eVery Good Condition, Original Condition Unaltered, No Imperfections\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCOLOR\u003cbr\u003eBronze\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eCONDITION NOTES\u003cbr\u003eExcellent Vintage Condition\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":31676611035178,"sku":"TORCH-CUT BRONZE SCONCE WITH AMBER MURANO GLASS SHADES BY AHLSTRÖM \u0026 EHRICH FOR A\u0026E DESIGN","price":2400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200529_140805-01-01-01-01.jpg?v=1642793995"},{"product_id":"aldo-londi-table-lamp-for-bitossi","title":"ALDO LONDI TABLE LAMP FOR BITOSSI","description":"\u003cp\u003eA shapely ceramic table lamp with a bubbly, light gray glaze, festooned with pink, biomorphic shapes between horizontal sgraffito stripes—all outlined in black. It rises from a conical, solid walnut base and was designed in the 1960s by master ceramicist Aldo Londi for BITOSSI CERAMICHE.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eALDO LONDI (1911-2003)\u003c\/b\u003e was one of Italy’s most celebrated master ceramists. He spent most of his long and successful career creating exceptional works of great art and craft for the Italian ceramics firm Bitossi Ceramiche.\u003c\/p\u003e\n\u003cp\u003eJust outside of Florence, Londi’s hometown of Montelupo Fiorentino had been an important center of pottery production in Tuscany since the Renaissance. At the age of eleven, in 1922, Londi went to work for the region’s then-premier ceramics workshop, Fratelli Fanciullacci (Fanciullacci Bros.). There he would master the time-honored methods of the local industry. Following WW II—upon his return to Italy from South Africa, where he was held captive as a prisoner of war—Londi became creative director at a second Montelupo manufactory, Bitossi Ceramiche. He would retain the position for more than 50 years.\u003c\/p\u003e\n\u003cp\u003eLondi’s high-level technical expertise and vast experience in traditional artisanal methods allowed him to create distinctively expressive and whimsical forms and finishes for Bitossi. His best-known collection is perhaps the 1950s-era \u003ci\u003eRimini Blu\u003c\/i\u003e, a now-iconic midcentury series that encompasses over 150 designs. The décor is a vibrant blue, densely embossed with abstract shapes and motifs that often create a frieze—fantastic loops of geometric elements endlessly chasing each other, enhanced by touches of green and cobalt. This proprietary decoration holds historical importance as it helped to bring handcrafted works into the modernist design conversation in Italy. Although not the only color Londi utilized, blue has become closely associated with his work. Londi’s last solo collection, \u003ci\u003eARKitectura\u003c\/i\u003e, is a striking exception—it features elegantly minimalistic animal figures—fish, cats, shorebirds—glazed in monochromatic black, white, or platinum.\u003c\/p\u003e\n\u003cp\u003eStarting in 1958, Londi began a fruitful collaboration with the legendary architect-designer Ettore Sottsass (1917-2007), who considered Londi an important mentor. During his tenure with Bitossi, Londi would also work with Piero Fornasetti (1913-1988), Matteo Thun (b. 1952), and Karim Rashid (b. 1960).\u003c\/p\u003e\n\u003cp\u003eMost of Londi’s collections, are still in production today and are widely collected by ceramics enthusiasts. Many of his original works can be seen at the MAIB–Artistic Industrial Bitossi Museum in Montelupo, which is dedicated to the history of the company.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eBITOSSI CERAMICHE\u003c\/b\u003e was established in 1921 as Manifattura Ceramica Cav. Guido Bitossi \u0026amp; Figli by Guido Bitossi in Montelupo Fiorentino—a medieval hilltop Tuscan town with an ancient tradition of ceramic production, located a few kilometers outside Florence. The Bitossi family, documented in the area as early as 1536, had for centuries worked there as sculptors, as painters, but especially as potters. In the 20\u003csup\u003eth\u003c\/sup\u003e century, under Guido’s leadership, they would introduce an extraordinary stylistic and formal renewal of their craft.\u003c\/p\u003e\n\u003cp\u003eIn the late 1940s, the master ceramist Aldo Londi (1911-2003) was named creative director at BITOSSI CERAMICHE. He would hold the position for more than 50 years and would design over 1,000 objects for the company. Himself a Montelupo native, Londi brought to BITOSSI a deep expertise in the traditional production of ceramics. At the same time, he keenly appreciated the streamlined forms of the mid-century moment. He is perhaps best known for his \u003ci\u003eRimini Blu\u003c\/i\u003e collection, an iconic series comprised of over 150 designs; it is still in production today and widely collected by enthusiasts.\u003c\/p\u003e\n\u003cp\u003eDuring Londi’s tenure, BITOSSI collaborated successfully with a host of famous designers, including the legendary architect-designer Ettore Sottsass (1917-2007). An avatar of 1960s counter-culture, Sottsass thought design should be provocative and sensual, and his avant-garde style blended well with BITOSSI’s mid-century aesthetic. Besides Sottsass, BITOSSI partnered with designers Piero Fornasetti, Karim Rashid, Arik Levy, Fabio Novembre, Benjamin Hubert, Matteo Thun, Monica Förster, and Cédric Ragot.\u003c\/p\u003e\n\u003cp\u003eToday BITOSSI CERAMICHE is justly considered an institution. The Bitossi family and its foundation have amassed an archive of over 7,000 historical documents and materials related to the production of ceramics. The assemblage is housed in the Bitossi Artistic Industrial Museum in Montelupo. In 2014, BITOSSI became an official member of the Registry of Italian Historical Companies, appointed by the Italian National Union of Chambers of Commerce.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eALDO LONDI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eBITOSSI CERAMICHE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; ITALIAN; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC, WALNUT\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eLIGHT GRAY, RED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE “A” PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e16\" DIAM. × 33\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":38226638733499,"sku":"ALDO LONDI TABLE LAMP FOR BITOSSI (ITALY)","price":750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20200602_182528-01.jpg?v=1631214241"},{"product_id":"gazelle-carved-neolithic-prehistoric-animals-pottery-lamp","title":"PAIR OF TABLE LAMPS WITH AFRICAN ANIMAL MOTIF","description":"\u003cp\u003eA pair of ample ceramic table lamps incised with stylized African animal motifs and abstract patterns. The egg-shaped forms evoke woven storage jars resting on faux stone bases. Unknown North American maker.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eNORTH AMERICA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eAFRICAN, FIGURATIVE, MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCOFFEE, BEIGE, TAUPE, YELLOW\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE \"A\" PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. Minor traces of wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e19\" DIAM. × 30 ½\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":40140769362107,"sku":"PAIR OF TABLE LAMPS WITH AFRICAN STYLE ANIMAL CARVINGS AND PATTERNS","price":750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20210428_173054-01.jpg?v=1619651512"},{"product_id":"philips-infraphil-7529-infrared-heat-lamp-attrib-charlotte-perriand","title":"PHILIPS INFRAPHIL 7529 INFRARED HEAT LAMP ATTRIB. CHARLOTTE PERRIAND","description":"\u003cp\u003eA 1950s-era \u003ci\u003eInfraPhil 7529\u003c\/i\u003e heat lamp designed in the mid to late 1940s for PHILIPS \u0026amp; CO. and often wrongly attributed to Charlotte Perriand (see bio). InfraPhil light bulbs were designed to emit a maximum yield of short-wave infrared radiation as a substitute for natural sunlight. They were intended to be used therapeutically to relieve muscular pain. This lamp is complete and comes with its original 150w, 3-pin bayonet-style infrared bulb, which is still in working order. An enduring icon of 20\u003csup\u003eth\u003c\/sup\u003e Century Modern industrial design.\u003c\/p\u003e\n\u003cp\u003eThis model also has a built-in hanger that allows it to be mounted as a sconce. If use as a standard light fixture is preferred, the infrared bulb may be swapped out for any other bulb that has a matching 3-pin bayonet fitting. The lamp housing is made from ivory-enameled metal and can be rotated 360 degrees on its base and tilted up and down using the red anodized aluminum ring. It retains its original European cord and plug (free adapter available upon request) and the PHILIPS \u0026amp; CO. decal on the base.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eCHARLOTTE PERRIAND (1903-1999)\u003c\/b\u003e was a renowned French architect and designer who burst onto the French design scene in her early 20s, seemingly undeterred by obstacles in an era when even the progressive Bauhaus school barred women from architecture and furniture design courses. She studied under Maurice Dufrêne (1876-1955) at the École de l’Union Centrale des art Décoratifs, entering into a competition at the 1925 Expo des Arts Décoratifs and gaining critical acclaim for her exhibition at the Salon d'Automne in 1927. In the same year, inspired by his architectural treatises, Perriand persuaded Charles-Édouard Jeanneret (1887-1965), known as Le Corbusier, to employ her. He put her in charge of prototype production and public presentations of the studio’s work. In collaboration with Charles-Édouard’s cousin Pierre Jeanneret (1896-1967), Perriand developed a series of tubular steel chairs, which are still hailed as icons of the machine age.\u003c\/p\u003e\n\u003cp\u003eFrom 1927 until 1937, Perriand worked with Le Corbusier, designing furniture and domestic interiors. During this period, she helped found the Union des Artistes Modernes (UAM), a movement made up of decorative artists and architects who tried to make their work more accessible by using low-cost materials. In 1937 she left Le Corbusier to start a successful career of her own with work aimed at creating functional living spaces in the belief that better design helps to create a better society.\u003c\/p\u003e\n\u003cp\u003ePerriand traveled to Japan in 1940 as an official advisor on industrial design. When Japan joined the war, she found herself trapped in Vietnam until 1946. During this exile, she studied local techniques of woodwork and weaving. She returned to France, intent on introducing straw and bamboo to modern design.\u003c\/p\u003e\n\u003cp\u003eBack in France, Perriand continued her work with Le Corbusier and Jean Prouvé (1901-1984). She was integral to the design of Le Corbusier’s \u003ci\u003eUnité d’Habitation\u003c\/i\u003e in Marseille. In 1949, she participated in the inaugural exhibition of the \u003ci\u003eFormes Utiles\u003c\/i\u003e movement, a French design group that evolved out of the UAM. It took place in the Museé des Arts Décoratifs (Museum of Decorative Arts), and Perriand curated the artwork and display objects, among which was a Philips InfraPhil heat lamp model 7525.\u003c\/p\u003e\n\u003cp\u003ePerriand remained an influential figure in the modern movement until her death in 1999 in Paris at the age of 96. A retrospective exhibition was held in her honor in the Centre Pompidou in Paris in 2005 that included a compilation from the 1949 \u003ci\u003eFormes Utiles\u003c\/i\u003e show. However, at the 2005 exhibition and in the book published for the event, the objects Perriand had previously curated in 1949 were mistakenly identified as her designs. Ever since then, the Philips InfraPhil heat lamp model 7525 and its successors are commonly attributed to her. The actual designer of the early Philips InfraPhil heat lamps is unknown but was most likely an employee of Philips.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eCHARLOTTE PERRIAND (attrib.)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1940s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003ePHILIPS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eBAUHAUS; INDUSTRIAL; MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eALUMINUM, ENAMEL, GLASS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eIVORY, RED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eNONE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 270V (UK\/EUROPE STANDARD), CORDED, TYPE “C” PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eVery good vintage condition with slight traces of age and previous use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e8 ½\" W × 5 ¾\" D × 10\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":40639627198651,"sku":"PHILIPS 'INFRAPHIL' Nr. 7529 HEAT LAMP (ATT) CHARLOTTE PERRIAND","price":165.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20210623_153926-01.jpg?v=1624483289"},{"product_id":"sirio-table-wall-lamp-by-sergio-brazzoli-ermanno-lampa-for-guzzini-italy","title":"‘SIRIO’ TABLE\/WALL LAMP BY BRAZZOLI \u0026 LAMPA FOR GUZZINI (ITALY)","description":"\u003cp\u003eA vintage table or wall lamp named ‘Sirio,’ designed in 1970 by Sergio Brazzoli and Ermmano Lampa for Guzzini (Italy).  Produced for the North American market in Canada.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eHARVEY GUZZINI\u003c\/b\u003e had its origins in a company started by Raimondo Guzzini in 1959 to produce copper-plated decorative objects: Harvey Creazioni. Founded in the small town of Recanati on Italy's Adriatic coast, the firm was re-established as a family concern in 1963 when brothers Giovanni, Virgilio, Giuseppe, Adolfo, and Giannunzio joined their elder brother in business. Rechristened Harvey Creazioni di Guzzini, its production was expanded to include pendant lighting, sconces, and table and floor lamps. (The eponymous Harvey, incidentally, is not a family member, but rather the giant, invisible, talking rabbit featured in the 1950 Jimmy Stewart film, a family favorite).\u003c\/p\u003e\n\u003cp\u003eThe six brothers employed architect-designer Luigi Massoni—who was introduced to them by leading plastic importer Maurizio Adreani—as head of design, branding, public relations, and advertising for HARVEY GUZZINI. The company ceased the production of copper-plated items around 1976 to concentrate on lighting made almost exclusively from methacrylate plastic (acrylic). It dabbled in furniture production, collaborating with Yugoslavian furniture producer Meblo, located in Nova Gorica in present-day Slovenia. The firm was rebranded as iGuzzini in 1974 and as Illuminazione Guzzini in 1981. It is headquartered in Recanati to this day.\u003c\/p\u003e\n\u003cp\u003eFamous HARVEY GUZZINI designs include Luigi Massoni and Luciano Buttura's ‘Mushroom’ table lamp (1965), as well as the in-house designed ‘Arc’ floor lamp (1968), ‘Faro’ table lamp (1970), and ‘Toledo’ table lamp (1973). An interning design team, Studio 6G, developed the ‘Clan’ table lamp in 1968; and the design team of Ermanno Lampa and Sergio Brazzoli was responsible for the ‘Nastro’ series (1970), the ‘Orione’ pendant (1970), the ‘Sirio’ table lamp (1970), the ‘Alba’ floor lamp (1973), the ‘Albanella’ table lamp (1973), and the ‘Alf’ series (1976).\u003c\/p\u003e\n\u003cp\u003eIn 1967-68 the company exhibited at Domus: Formes Italiennes in the Galeries Lafayette in Paris under the name Design House (DH), where the company featured Gio Ponti's ‘Media’ wall sconce. A retail outlet was opened in central Milan under the name Harvey Guzzini-DH in 1969, situating the brand literally and figuratively among the best-known Italian design houses.\u003c\/p\u003e\n\u003cp\u003eIn 1974 the company rebranded once more as iGuzzini—adding “Illuminazione” in 1981—which still exists today with headquarters in Recanati, Italy.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eSERGIO BRAZZOLI \u0026amp; ERMMANO LAMPA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1970\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eIGUZZINI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eCANADA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMINIMALISM; POP ART; SPACE AGE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eACRYLIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eWHITE, SILVER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE “A” PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eVery good vintage condition with only light surface wear. May show signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e6\" DIAM. × 8\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":42093867040955,"sku":"'SIRIO' LAMP BY BRAZZOLI \u0026 LAMPA FOR GUZZINI (ITALY)","price":485.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20211119_172022-01.jpg?v=1637365673"},{"product_id":"tubular-glass-and-brass-stiffel-table-lamp-with-lined-shade","title":"TUBULAR GLASS AND BRASS STIFFEL-STYLE TABLE LAMP","description":"\u003cp\u003eA tall slender Stiffel-style table lamp with a cylindrical glass body, brass fittings, and a curved pyramidal black metal base. Paired with a lined off-white silk shade.\u003c\/p\u003e\u003chr\u003e\n\u003cp\u003eThe STIFFEL LAMP COMPANY was founded in 1932 by Ted Stiffel (1899–1971) in Chicago, Illinois. Stiffel's ambition was to manufacture portable light fixtures that were intelligently designed and accessibly priced. His dedication to excellence would soom establish the firm as the industry's quality leader.\u003c\/p\u003e\n\u003cp\u003eRaised in Memphis, Stiffel initially pursued a music career. After discharge from service in World War I, he worked for Western Electric in Chicago and then for the lighting firm, Nellie J. Kaplan Co. His own firm began operations by supplying lamps to regional department stores. By the 1940s it owned a factory large enough to produce the volume required for national distribution. STIFFEL was eventually competing with the likes of Frederick Cooper. Its output was celebrated both for its splendid design and the precise craftsmanship it evinced.\u003c\/p\u003e\n\u003cp\u003eDuring World War II, STIFFEL opened a machine screw department to produce bolts for anti-aircraft guns and other components for the war effort. The government contracts were withdrawn following V-J Day in 1945. Architect and designer Edwin J. Cole (1904-1992) joined the firm in 1948. Cole would be responsible for some of STIFFEL's most striking designs. Today his vintage creations—often lamps with distinctively tall and shapely ceramic bodies, sometimes finished with chinoiserie details in brass—are highly sought after by collectors.\u003c\/p\u003e\n\u003cp\u003eThe STIFFEL LAMP COMPANY has contributed much to the lighting industry over the years: innovations such as the vertical pole lamp and inventions such as the patented Stiffel Switch—not to mention unparalleled accomplishments in design. Following a bankruptcy in 2000, the brand was revived in 2013 in Linden, New Jersey, where newly produced, high-quality lamps again carry the STIFFEL name.\u003c\/p\u003e\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyled After – \u003cb\u003eSTIFFEL LAMP COMPANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eNORTH AMERICA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eHOLLYWOOD REGENCY; BOHO CHIC; TRANSITIONAL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eBRASS, GLASS, METAL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBRASS, BLACK, WHITE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE \"A\" PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eVery good vintage condition; without defects, but showing slight traces of use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e15\" DIAM. × 40\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"WESTON NORTON","offers":[{"title":"Default Title","offer_id":42148183441595,"sku":"TUBULAR GLASS AND BRASS STIFFEL STYLE TABLE LAMP WITH LINED SHADE","price":650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20220118_144404-01-01.jpg?v=1642539946"},{"product_id":"bronze-asian-influenced-bas-relief-table-lamp","title":"MEIJI PERIOD BRONZE BAS-RELIEF VASE TURNED LAMP","description":"\u003cp\u003eHandsome table lamp fashioned out of a beautifully patinated Japanese bronze vase from the Meiji period (c. 1890) with bas-relief decorations of birds and flowers.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eASIAN; HOLLYWOOD REGENCY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eBRONZE, FABRIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBRONZE, CREAM\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE “A” PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eShade shows minor signs of wear.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e7\" DIAM. × 26\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":42403061432507,"sku":"MEIJI PERIOD BRONZE BAS RELIEF VASE TURNED LAMP","price":895.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20220115_150858-01.jpg?v=1642282557"},{"product_id":"west-german-fat-lava-table-lamp-with-period-shade-u-keramik","title":"Ü-KERAMIK FAT-LAVA TABLE LAMP WITH PERIOD SHADE","description":"\u003cp\u003eA small 1970s relief décor table lamp in red and tan with a crusty white volcanic fat-lava top glaze from Ü-KERAMIK. Paired with a nubby period shade. Fully tested and in perfect working order.\u003c\/p\u003e\n\u003cp\u003eThe cord has an in-line switch and has been fitted with a US plug.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eÜ-KERAMIK\u003c\/b\u003e (aka ÜBELACKER) began as a tin foundry in 1909 in the small town of Ransbach-Baumbach in the southwest German state of Rhineland-Palatinate. Master tinsmith Johann Übelacker initially produced simple pewterware, but he was soon experimenting with pieces that incorporated stoneware elements—in the manner of the common beer stein. The popularity of these led to Ü-KERAMIK's expansion into, first, the manufacture of terracotta and fine earthenware goods and, in the 1930s, the production of glazed ceramics.\u003c\/p\u003e\n\u003cp\u003eAt some point following WWII, Ü-KERAMIK began collaborating with Siershahner Feinsteinzeugfabrik, a maker of \"klinker\" pottery in nearby Siershahn, and by 1949 it had taken over that company's operations. Combined the two factories employed more than 550 people. They were well positioned to help supply war-weary Europe with the domestic trappings of a brighter, more prosperous future.\u003c\/p\u003e\n\u003cp\u003eÜbelacker was an early adopter of his industry's technical innovations. To cite one late example, working with Ü-KERAMIK's resident chemist and artistic director Heinz Hommerich in 1954, he pioneered the mass-scale production of objects glazed in selenium red. The newly-formulated fiery finish gave Ü-KERAMIK an enormous upper-hand in the marketplace. Sadly it would be the last advance Übelacker would introduce personally as he died the next year in 1955.\u003c\/p\u003e\n\u003cp\u003eThe business was left in the hands of his three sons, who had learned the trade from childhood. By then Ü-KERAMIK was one of the largest producers in the region. Its impressive range of products included all kinds of ceramic forms, both utilitarian and ornamental. The 1958 catalogue featured 25 different models of vases (not counting wall vases and pitchers) available in 66 sizes and 15 designs. A relatively large portion of Ü-KERAMIK's output was exported to Austria and Scandinavia.\u003c\/p\u003e\n\u003cp\u003eIn 1960 Johann's sons were enticed by government incentives to co-establish Kilrush, a ceramics factory on Ireland's west coast. Unfortunately, the concern failed after only two years. (It was eventually acquired by Rosenthal in 1973.) A second Irish factory was built in the 1980s to better service Scandinavian markets—where Ü-KERAMIK products remained extremely popular, even as German interest in decorative ceramics waned. However this second time proved no charm. The venture was a financial debacle and left the three brothers struggling with debt; the factory in Siershahn had to shutter as a result. Finally the main plant in Ransbach filed for bankruptcy in 1990.\u003c\/p\u003e\n\u003cp\u003eA note on identification: Ü-KERAMIK pieces were generally made of white or off-white clay and were usually marked on the bottom with only a form number and height. Foil stickers with the company logo were frequently used; occasionally the logo can be found impressed on the base. Consisting of a circled u-umlaut (ü), the logo bears a striking resemblance to a smiley face.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eÜ-KERAMIK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC, FABRIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eRED, TAN, WHITE, GOLDENROD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 250V (EUROPE\/UK STANDARD), CORDED, TYPE \"A\" PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. Minor wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e13 ½\" DIAM. × 24\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":42979468902587,"sku":"Ü KERAMIK FAT-LAVA TABLE LAMP WITH PERIOD SHADE","price":550.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/IMG_20230818_172151-01.jpg?v=1692484439"},{"product_id":"monumental-jiri-georges-lauda-table-lamp","title":"JIŘÍ GEORGES LAUDA TABLE LAMP FOR NORWOOD OF MONTREAL","description":"\u003cp\u003eA heavily incised, geometric décor table lamp designed by Jiří Georges Lauda in the 1960s and produced, in collaboration with ceramist Paul Pannier, for Norwood Lamps of Montreal, Canada. Walnut accents are featured at the neck and base. These lamps are rare and highly collectible. This one, in light blue, is in excellent condition and has been paired with a tall, nubby fabric drum shade of similar vintage.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eJIŘÍ GEORGES LAUDA (1925–2014)\u003c\/b\u003e was born in Prague in 1925 in what was then Czechoslovakia. He studied at the city's Academy of Fine Arts, where he trained in multiple disciplines—including sculpture, printmaking, illustration, and ceramics. He immigrated to Montreal in 1951 and briefly pursued a career in education. In 1966, the inaugural year of the Montreal Metro, he cooperated with its artistic director, Robert LaPalme (best known as an editorial cartoonist), to create a bronze plaque memorializing the early development of the city’s public transportation system. The plaque is housed today in a circular black granite bench—commonly referred to as \u003ci\u003ela rondelle\u003c\/i\u003e, i.e., the hockey puck—that serves as a popular rendezvous point within the Berri-UQAM metro station.\u003c\/p\u003e\n\u003cp\u003eLAUDA frequently worked with noted ceramist Paul Pannier (1926–1993), the founder of Pannier Céramiques of Montreal. Many of LAUDA’s table pieces were produced there. The typical division of labor would have LAUDA responsible for concept and design and Pannier for the firing and glazing. This specialization was likely extended to the execution of the major public art projects that LAUDA and Pannier collaborated on. LAUDA was also an accomplished illustrator and graphic designer.\u003c\/p\u003e\n\u003cp\u003eNOTABLE PUBLIC WORKS:\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eLE POÈTE DANS L’UNIVERS—An homage to Québec poets Hector de Saint-Denys Garneau, Émile Nelligan, and Octave Crémazie, this immense mural adorns a transept wall above the Montmorency platform of Crémazie's namesake Montreal metro station. With ceramist Paul Pannier and artist-blacksmith Gérard Cordeau (1937–2003). 1968.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003eL’ÉVOLUTION DU NURSING—A depiction of the history of nursing from antiquity through its early days in Canada. It includes a representation of St. Marguerite d’Youville, founder of \u003ci\u003eles Soeurs Grises\u003c\/i\u003e (the Gray Sisters), and resides in the entrance hall of the pavilion that bears her name on the University of Montreal campus. 1974.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003eHOMMAGE À L’ESPRIT SPORTIF—Covering an entire exterior facade wall of Aréna Garon (an ice rink in Québec City), groupings of athletes, two male and two female, are portrayed. With ceramist Paul Pannier. 1990.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eNORWOOD LAMPS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eJIŘÍ GEORGES LAUDA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eCANADA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eABSTRACT; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC, WALNUT, FABRIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eSKY BLUE, BROWN, GOLD\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 110V (US STANDARD), CORDED, TYPE 'A' PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. Minor wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e16\" DIAM. × 42\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":43200201490619,"sku":"MONUMENTAL JIRI GEORGES LAUDA TABLE LAMP PRODUCED BY PAUL TANNIER FOR THE NORWOOD COMPANY OF MONTREAL, CANADA","price":1895.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/IMG_20230519_165332_1-01.jpg?v=1692653321"},{"product_id":"red-on-black-alvino-bagni-bamboo-peach-blossom-decor-table-lamp-italy","title":"ALVINO BAGNI BAMBOO \u0026 PEACH BLOSSOM TABLE LAMP","description":"\u003cp\u003eA large, black-and-red table lamp with a bamboo and peach blossom décor, designed in Italy in the 1960s by master potter Alvino Bagni. Many famous Italian potters of the era produced lamp bodies for export to the United States, to be electrified by companies such as Rembrandt, Stiffel, Wildwood, Frederick Cooper, and Marbro, among others.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eALVINO BAGNI (1919–2009)\u003c\/b\u003e was born in 1919 in the quiet Tuscan hamlet of Lastra a Signa in the environs of Florence. His boyhood and adolescence were spent without his father, who, as a communist, had been exiled under Italian fascism. The young Bagni took an early interest in pottery, a regionally important industry. He studied the basics of drawing and clay modeling under the tutelage of local sculptor Torello Santini (1875–1946) and, with his referral, took a job in the workshop of Arnaldo Pugi’s ceramics factory in nearby Ponte a Signa. Bagni had a brief stint at Bitossi Ceramiche in nearby Montelupo, where famed ceramist Aldo Londi (1911–2003) took him under his wing.\u003c\/p\u003e\n\u003cp\u003e After the Second World War, Pugi helped Bagni finance the opening of a studio of his own in Lastra a Signa, BAGNI CERAMICHE. Several family members were employed there, including wife Gina. (She would continue to work alongside Bagni throughout his career.) An order for 3,500 elephant-head plates bearing the slogan “I like Ike,” manufactured for export during the 1952 US presidential race, got things rolling for the studio. It proved to be a prophetic commission: a large majority of Bagni’s work would be for the US market.\u003c\/p\u003e\n\u003cp\u003eDuring the ’50s and ’60s, Bagni established and nurtured pivotal collaborations with Bitossi and the import companies Rosenthal Netter and Raymor, the latter being a dominant American firm. Such alliances allowed Bagni to open a larger, better-equipped factory where he surrounded himself with highly skilled artists—Enzo Borgini, M. Mannori, Remo Buti, and Michelangelo Santonocito, among them. Bagni produced a stunning variety of designs for Raymor, including some highly individualistic studio pieces. The latter perhaps represent the very best of his work—featuring stripes, geometric patterns, and bold lava-type glazes. Bagni was always experimenting, and he produced some truly radical glaze and color combinations. A case in point is the \u003ci\u003eSea Garden\u003c\/i\u003e décor, an unusual mix of turquoise, blue, green, yellow, browns, and blacks. Bagni often incorporated rings or other small metal pieces within his ceramic designs.\u003c\/p\u003e\n\u003cp\u003eBy 1980, BAGNI CERAMICHE had nearly 100 employees and was internationally renowned for high-quality, artistic productions as well as its innovative methods. As the world increasingly opened up to global competition, however, the company found itself in financial straits. Married as it was to an “artisanal” approach, it struggled to withstand the downward pressure on prices. Despite Bagni’s noble efforts to save his factory and employees, BAGNI CERAMICHE closed for good in 1990.\u003c\/p\u003e\n\u003cp\u003eBagni returned to pottery with Nuove Forme, a venture founded with son-in-law Gianfranco Ghiretti in Florence in 1993. A natural evolution of his older company, Nuove Forme continued to research and experiment with colors and processes. It found its niche producing limited runs of virtually unique objects for the most discerning buyers. Nuove Forme owns many of Bagni’s historical designs and curates an enormous Bagni showroom—something of a museum of his work. Bagni retired for health reasons in 2001. He died in 2009 at age 90.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eALVINO BAGNI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eBAGNI CERAMICHE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eASIAN MODERN; JAPONISME; MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC, TEXTILE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBLACK, RED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE “A” PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":43306868048059,"sku":"RED ON BLACK ALVINO BAGNI BAMBOO \u0026 PEACH BLOSSOM DECOR TABLE LAMP (ITALY)","price":995.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/products\/IMG_20220910_122403_1-01.jpg?v=1663001138"},{"product_id":"chrome-six-arm-chandelier","title":"6-ARM CHROME CHANDELIER WITH FROSTED LUCITE BOBECHES","description":"\u003cp\u003eA modernist, six-arm chandelier of chromed aluminum with frosted lucite bobeches. Phenomenal. 30 ½\" DIAM. x 25\" H.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period – \u003cb\u003e1980s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMODERN; POSTMODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCHROME, LUCITE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCHROME, WHITE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eDIFFUSERS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), HARDWIRED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eVery good vintage condition. Shows minor traces of oxidation similar to silver tarnish.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e30 ½\" DIAM. × 25\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":44525397573819,"sku":"CHROME SIX-ARM CHANDELIER WITH FROSTED LUCITE BOBECHES","price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/101169181_6_x-01-01.jpg?v=1692213666"},{"product_id":"tall-marcello-fantoni-table-lamp-with-figures","title":"TALL MARCELLO FANTONI TABLE LAMP WITH FIGURES","description":"\u003cp\u003eA tall, mid-century ceramic table lamp with figures in shades of yellow, blue, red, and green by master Italian ceramicist Marcello Fantoni.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eMARCELLO FANTONI (1915–2011)\u003c\/b\u003e was born in Florence in 1915. He began studies at the Instituto d’Arte Porta Romana in Florence when he was twelve under the great ceramicist Carlo Guerrini. His training in the arts included sculpture classes with Libero Andreotti (1875–1933) and Bruno Innocenti (1906–1986) and instruction in figure drawing with the painter Gianni Vagnetti (1898–1956). Fantoni graduated from the institute as a maestro in 1934, and, after a stint as the art director of a ceramics factory in Perugia in neighboring Umbria, opened the Fantoni Ceramic Studio in Florence in 1936. Here he produced serial and individual pieces along with sculptures and furnishings.\u003c\/p\u003e\n\u003cp\u003eIn 1937 Fantoni’s work was shown in the Florence National Arts and Crafts Exhibit. Its rustic forms and painted decoration commanded a lion’s share of the attention. By the onset of WWII, Fantoni’s integration of Modernist elements with ancient Italian pottery techniques had won him artistic and commercial success at home and abroad.\u003c\/p\u003e\n\u003cp\u003eIn the initial years following the War (during which he participated in the Italian resistance), Fantoni worked for the centuries-old Maiolica factory in Deruta, Umbria, renowned for its signature tin-glazed pottery. In the 1950s, he refocused on his studio in Florence where he devoted himself to larger sculptural pieces as well as multiple collaborations. Fantoni’s post-war work, with its technical mastery and unique abstract style, helped push ceramics into the sphere of serious art. It raised the profile of Italian ceramics and laid the groundwork for their lasting prestige.\u003c\/p\u003e\n\u003cp\u003eFantoni drew from varied influences—Primitivism, Novecento style, Cubism, and Abstract Expressionism—experimenting with materials and forms alike. Marcello Fantoni designed numerous collections that translated the essentials of his explorations into objects that could be put into serial production. A special emphasis on ancient Etruscan techniques, glazes, and colors heightened the timelessness of much of his output. In addition to clay, he frequently worked in metals to great effect. Every Fantoni piece was ultimately rendered unique by his hand-painting of it. His painting style remains one of the most identifiable qualities of his creations.\u003c\/p\u003e\n\u003cp\u003eIn 1970 Fantoni founded the International School of Ceramic Art, dedicated to teaching ceramic arts and experimentation. Many of his students and employees went on to become noteworthy artisans and artists. Fantoni maintained great versatility throughout his career, completing many large-scale projects for public and private buildings. When he died in Florence in 2011 at the age of 95, his obituary in \u003ci\u003eLa Nazione\u003c\/i\u003e hailed him as “the master of beauty.”\u003c\/p\u003e\n\u003cp\u003eThe following museums hold works by Fantoni: MoMA, the Met, and the Brooklyn Museum in New York City; the Museum of Fine Arts, Boston; the Victoria and Albert Museum, London; the Royal Museum in Edinburg; and the National Museums of Modern Art of Tokyo and Kyoto in Japan; the International Museum of Ceramics in Faenza and the National Bargello Museum and the Uffizi Gallery in Florence.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eIf done with passion, it becomes fashion.\u003c\/i\u003e – MARCELLO FANTONI\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eMARCELLO FANTONI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eFANTONI CERAMIC STUDIO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCOLORS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE “A” PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e18\" DIAM. × 40\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":44647282507963,"sku":"TALL MARCELLO FANTONI TABLE LAMP WITH FIGURES","price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/IMG_20230615_164416_1-01.jpg?v=1686961856"},{"product_id":"rare-fish-tv-lamp-by-ivo-de-santis-for-gli-etruschi-italy","title":"UNUSUAL FISH-FORM TV LAMP BY IVO DE SANTIS FOR GLI ETRUSCHI","description":"\u003cp\u003eA rare, hand-painted television lamp from Ivo de Santis of GLI ETRUSCHI. A playful encounter between De Santis’ eccentric Italian style—itself an amalgam of the traditional and the modern—and an all-American form. Secondary illumination emerges through the gills and eyehole to illuminate the fish’s jolly stripes and freckly face. The original European two-prong plug is retained; a US adaptor is furnished.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eIVO DE SANTIS\u003c\/b\u003e opened his Tuscan pottery studio in Florence in the early 1950s. Very little is known about his biography—or indeed about the history of the workshop, which, presumably in a nod to his heritage, he named GLI ETRUSCHI (the Etruscans). It seems fairly certain that the bulk of its output was exported, as it is unusual to find GLI ETRUSCHI items in Italy. The work of de Santis became very popular in the US in the 1960s and was widely distributed by the American importers Raymor and Rosenthal-Netter. His artistry quickly became well-known for its bold and quirky creativity.\u003c\/p\u003e\n\u003cp\u003eThe products of GLI ETRUSCHI were exclusively hand-built and generally fell into three main categories: small figurines, animal and human; slab-built and wheel-thrown vessels (often altered or combined); and whimsical objets d’art, sometimes decorated with implanted metal wires and dripping in acid-colored glazes (often in striking combinations) or muted pastels. The pieces were rarely signed and were mostly labeled with foil stickers, few of which survived. Happily, de Santis’s creations are readily recognizable by their distinctly original style.\u003c\/p\u003e\n\u003cp\u003eDe Santis was a friend of Marcello Fantoni (1915-2011), and his pottery compares favorably with that of his fellow Florentine master as well as with that of their Italian contemporary, Guido Gambone (1909-1969). Equally inspired by ancient Etruscan forms and mid-20\u003csup\u003eth\u003c\/sup\u003e century art styles—particularly abstract expressionism, pop, and color field painting—it was de Santis’ genius to combine these influences, producing ceramic artworks that were all his own.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eTV LAMPS\u003c\/b\u003e are iconic luminaries of the 1950s and early 1960s. The fad for them only lasted about twelve years, but during that time thousands were produced by ceramics manufactories all over the US and Canada. North Dakota’s Rosemeade Pottery, best known for its salt and pepper shakers depicting native wildlife, made some of today’s most collectible ones. A particularly excellent example of their rooster lamp sold for a staggering $3550. They also released TV lamps in panther, horse, pheasant, deer, and wolf form—all of which are likely to bring at least $1000 at auction.\u003c\/p\u003e\n\u003cp\u003eThe earliest examples of TV lamps date from about 1950, when television sets were establishing their presence in North American households. The lamps were specifically designed to cast light on the wall behind them rather than providing general room illumination. The traditional explanation for the purpose of TV lamps is that they were intended to protect the eyesight of the viewer. The (admittedly pseudo-scientific) thinking went that the strong contrast between the light emanating from the TV and the room's surrounding darkness was bad for the eyes. “Don't watch TV in the dark” was a common admonition. So TV lamps came to the rescue, casting their soft glow to diffuse the harsh light from the screen. The reasoning garnered great currency at the time, but there is little to no product documentation substantiating it.\u003c\/p\u003e\n\u003cp\u003eOriental motifs and jungle animals made their way into the sculpted form of TV lamps. All sorts of animals were hugely popular, including horses, fish, and mallard ducks, but the king of the TV lamp jungle was the long, low, stalking panther modeled after the figurines designed in the late 1940s by Haeger Potteries of Dundee, Illinois. While Haeger never produced their panther as a lamp, other potteries blatantly copied the design and electrified it, ultimately turning it into what has become an iconic example of mid-century kitsch.\u003c\/p\u003e\n\u003cp\u003eThe greatest volume of TV lamps came from California. Large outfits like Lane \u0026amp; Co., Maddux of California, and California Originals cranked out thousands, making the most of the demand while they could. Lane was especially prolific, producing TV lamp designs in a big way, with campy, quirky forms like flamingos, pink poodles, and sailfish. The company, based in Van Nuys, was one of the largest producers of ceramic goods in the US, yet today next to nothing is known about their history.\u003c\/p\u003e\n\u003cp\u003eAnother large manufacturer, based in the small West Texas town of Bangs, also made TV lamps a significant part of their output, and their artful Siamese cats are a must-have for collectors. Sometimes marked on the felt base with “Texans Incorporated, Bangs, Texas,” they can more readily be identified by the embossed “Kron” found on most examples. This denotes their prolific designer, Howard Kron (1914–1991), who was responsible for the majority of their products over the years.\u003c\/p\u003e\n\u003cp\u003eThe good news is that decades of research have not turned up any evidence that your eyes are harmed by watching TV in the dark. You may experience some eyestrain or visual fatigue, but the effects are transitory. So, what relevance does the TV lamp hold for us today? For those who keep a mid-century home, a period-appropriate specimen can add an essential detail. Otherwise, a TV lamp can serve as a nightlight or other source of soft, ambient light while providing a room with some decorative interest that reflects your personality.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eIVO DE SANTIS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eGLI ETRUSCHI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eTUSCAN; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCHARTREUSE, BUBBLE GUM, RUBY, BLACK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eDIFFUSER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE \"C\" PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show slight traces of wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – 13\u003cb\u003e\" W × 4.5\" D × 8.75\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"KELLY LOCKER","offers":[{"title":"Default Title","offer_id":44690171134139,"sku":"RARE FISH TV LAMP BY IVO DE SANTIS FOR GLI ETRUSCHI (ITALY)","price":695.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20240601_121551_1_1.jpg?v=1717265573"},{"product_id":"gli","title":"’70s ITALIAN CHROME DOUBLE-HEADED FLOOR LAMP WITH MARBLE BASE","description":"\u003cp\u003eA fully adjustable Italian floor lamp having two lights, with white, aluminum diffusers, on a chromed steel pole that rises from a round, marble base. Each light has its own push-button switch, and both heads can be adjusted vertically along the pole.\u003c\/p\u003e\n\u003cp\u003eFitted with a European plug; US adapter included.\u003c\/p\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eALUMINUM, CHROME, MARBLE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eWHITE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 250V (EUROPE\/UK STANDARD), CORDED, TYPE \"C\" PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eVery good vintage condition. Wear consistent with age and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e12\" W × 12\" D × 66\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":44690567889083,"sku":"EUROPEAN DOUBLE HEADED FLOOR LAMP WITH MARBLE BASE","price":895.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/IMG_20230715_150202-01.jpg?v=1689460887"},{"product_id":"paavo-tynell","title":"6-ARM BRASS CHANDELIER ATTRIB. TO PAAVO TYNELL - FINLAND","description":"\u003cp\u003eA stylish, six-arm, brass chandelier with white, perforated metal diffusers and a central downlight. Produced in Canada, probably in the ’50s, and attributed to the great Finnish lighting designer Paavo Tynell.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003ePAAVO VILJO TYNELL (1890–1973)\u003c\/b\u003e was a Finnish industrial designer whose pioneering work in the first half of the 20\u003csup\u003eth\u003c\/sup\u003e century had a lasting influence on international lighting design. He was born in Helsinki, 12 years after the invention of the domestic lightbulb, at a time when Finland, like most of northern Europe, was yet to be electrified. The seventh of nine children in a working-class family (who could not afford an education for their son beyond primary school), Tynell entered an apprenticeship at G.M. Sohlberg’s metalsmith workshop when he was 16, spending six years as a sheet metal worker and another as a blacksmith, before beginning formal studies at the University of Art and Design Helsinki. His final university project was a light fixture in brass—a material that would later become his trademark. Arguably, the deferral of his secondary education positioned Tynell perfectly to join the vanguard of modern lighting design upon graduation.\u003c\/p\u003e\n\u003cp\u003eIn 1918 Tynell co-founded the metalwork and lighting company Oy Taito AB (named after the Finnish word for “skill”). As managing director of the company’s foundry, he oversaw the production of a range of light fittings and other functional objects—as well as sculptures and large-scale custom pieces. Tynell also served as the firm’s principal designer throughout the ’20s, supported by a roster of other Finnish artists that included graphic designer and decorative painter Henry Ericsson (1898–1933) and sculptor Ville Vallgren (1855–1940).\u003c\/p\u003e\n\u003cp\u003eBy the 1930s, Oy Taito was exclusively a lighting company, having leaned into the growing electrification of a newly independent Finland. Its small shop became a factory and soon employed over a hundred people. Taito earned a reputation as an industry trendsetter, and Tynell’s international reputation grew in parallel—largely thanks to high-profile lighting projects such as Parliament House in Helsinki, designed by architect Johan Sigfrid Sirén (1889-1961), and collaborations with leading modernist architects, notably Alvar Aalto (1898–1976). Working to incorporate artificial lighting into modern environments, Taito produced fixtures for all of Aalto’s major projects including the Paimio Sanatorium and the Viipuri Library. The collaboration proved fruitful, and it earned Tynell the epithet “the man who illuminated Finland.” His talent for creating indirect light was especially sought after in spaces such as restaurants and movie theaters, where softer, more atmospheric lighting was naturally prized.\u003c\/p\u003e\n\u003cp\u003eTynell’s influence outside of his native country was bolstered by an association with the Finland House of New York City, a design atelier that showcased the work of Finnish designers and craftspeople. He was entrusted with prestigious orders for American public buildings, such as the UN Secretary-General’s office, and for important private homes. \u003ci\u003eModel 9060\u003c\/i\u003e, a beautiful bowl-like lamp in pattern-perforated brass, whose design earned first prize at the American Institute of Interior Decorators' annual competition, emerged from the former undertaking.\u003c\/p\u003e\n\u003cp\u003eThe ’30s and ’40s were largely a time of experimentation for Tynell, whose style evolved from the functionalist and art deco designs of his early career into more decorative and elegant expressions. Throughout this period, he served as chairman of Ornamo, an association of Finnish industrial designers, and, through Taito, he provided training and support for the up-and-coming, often enlisting them as drafting assistants, to jumpstart their careers. One such assistant, the glass designer Helena Turpeinen (1918–2016), married Tynell in 1947.\u003c\/p\u003e\n\u003cp\u003eFollowing WWII, Paavo Tynell had begun to design using brass, the only metal immediately accessible in Finland as it was a genuinely domestic product, owing to the Outokumpu copper mines. Brass fixtures were an instant success in North America, and Tynell began creating designs for the prestigious American company Lightolier; this productive partnership lasted until 1966. Marked by delicacy and softness, the collaboration’s most famous forms echo the structures of nature.\u003c\/p\u003e\n\u003cp\u003eTynell’s distinctive style, coupled with his understanding of light’s role in shaping an atmosphere, proved to have a timeless appeal. Today his lamps are highly sought after by an international clientele of collectors, and prices of more important pieces have soared at auction. His lighting is part of the urban fabric of Helsinki, and many of his grand installations survive today—in buildings ranging from train stations and churches to hotels and educational institutions, not to mention the famous Lasipalatsi (Ice Palace) office building.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\nThe merger of Taito with the lighting factory Idman Oy in 1953 prompted Tynell’s retirement as managing director of the company, but he continued designing for Taito on a freelance basis and for other lighting brands in Finland and abroad. During his career, Tynell won prizes at the 1929 Barcelona World Fair and the 1933 Milan Triennale and, in 1951, received the Chicago Athenaeum’s Good Design Award for lighting.\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003ePAAVO TYNELL (ATTRIB.)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1940s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1950s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eCANADA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMODERN; ART DECO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eBRASS, METAL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eWHITE, BRASS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eDIFFUSERS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), HARDWIRED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eVery good vintage condition; without defects, but showing slight traces of use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – 21\u003cb\u003e\" DIAM. × 13\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":44698553123003,"sku":"BRASS SIX-ARM CHANDELIER ATTRIBUTED TO PAAVO TYNELL","price":2800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20230619_143135907-01.jpg?v=1690052662"},{"product_id":"melting-tubular-white-aluminum-and-walnut-table-lamps-pair","title":"TUBULAR TORCH-CUT ALUMINUM AND WALNUT TABLE LAMPS","description":"\u003cp\u003eA pair of tubular, torch-cut aluminum and walnut, Canadian-designed accent lamps from the 1970s. Manufacturer unknown. Priced as a pair.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eCANADA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eBRUTALIST; INDUSTRIAL; MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eALUMINUM, WALNUT\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eWHITE, BROWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003e(DIFFUSERS) INCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE \"A\" PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eGood vintage condition. There is a stress fracture on one of the diffusers (see photo); the integrity of the aluminum is not affected.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e4 ¾\" DIAM. × 13 ¼\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":44796486123707,"sku":"TUBULAR TORCH CUT ALUMINUM AND WALNUT TABLE LAMPS","price":750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20231009_153305-01.jpg?v=1696888414"},{"product_id":"rare-emons-sohne-es-keramik-red-on-black-petal-decor-table-lamp","title":"RARE EMONS \u0026 SÖHNE RED-ON-BLACK ‘PETAL’ DÉCOR TABLE LAMP","description":"\u003cp\u003eA rarely seen table lamp in the red-on-black \u003ci\u003ePetal\u003c\/i\u003e décor designed by Hans Kraemer and Willi Hack for ES-Keramik in the late 1960s. It is presented here with a vintage, red, fiberglass shade.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eES KERAMIK\u003c\/b\u003e was founded in 1948 by Josef Emons (d. 1964) and his two sons—ES being an initialism for Emons \u0026amp; Söhne—in the town of Rheinbach near Bonn in the German state of North Rhine-Westphalia. That year saw the dissolution of Emons and then partner Jean Fuss’ terracotta business; Fuss \u0026amp; Emons had been formed in 1921 when the two men left employment with Klein \u0026amp; Schardt, the predecessor of Ruscha Keramik. Its output consisted of flower pots, ornamental ceramics, and eventually drainage pipes. With the start of WWII, production came to a near standstill—with the exception of inserts for the so-called “Hindenburg lights,” an important source of wartime emergency lighting. The full program was resumed as conditions normalized after the war, but the two men chose to go in different directions. (Fuss established Marei Keramik with his son the same year.)\u003c\/p\u003e\n\u003cp\u003eThe factory housing ES KERAMIK was largely converted to mechanical production with the company’s launch, and its coal stoves were replaced with modern electric kilns. The initial product offering of planters, tubs, pots, and simple vases was soon expanded to include more decorative items. Hans Kraemer joined the firm in 1952 as a senior modeler. He produced all of the shapes for ES KERAMIK until 1968, at the remarkable rate of 15-20 designs per year. The art department was led by Willi Hack from 1954 until the firm’s 1974 close. By the second half of the ’50s, as many as 18 female painters were employed, among them numerous alumnae of the local glassmaking school. The total workforce topped out at 70 employees.\u003c\/p\u003e\n\u003cp\u003eSales of ES KERAMIK’s decorative wares were accomplished solely through trade fairs and the efforts of territorial representatives. Brochures were never printed, and the company never advertised. The composition of its repertoire was determined by feedback from the reps and the current order situation. Successful ES KERAMIK molds and décors would remain in production as long as demand held. The quality of shapes and decorations varied broadly, but the good items were quite good; one of the best is Kraemer’s pitcher-form 683, later released as shape number 883.\u003c\/p\u003e\n\u003cp\u003eAfter the death of Josef Emons senior in 1964, management of ES KERAMIK passed to his sons. The firm’s 50th anniversary was celebrated in 1971, and the factory closed its doors three years later. Some technical equipment had previously been sold off to Ruscha Keramik; but the company itself, its premises, and the balance of the equipment—as well as the majority of the workforce—were taken over by the senior Emons’ former partner, Jean Fuss, and absorbed by neighboring Marei Keramik.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eWILLI HACK\/HANS KRAEMER\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eES KERAMIK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eWEST GERMANY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC, FIBERGLASS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eRED, BLACK, BRASS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE “A” PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eThe ceramic is in pristine condition. The shade may show minor traces of wear consistent with age and use. The lamp has been rewired to American standards.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e13\" W × 13\" D × 22\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46067337167035,"sku":"RARE EMONS \u0026 SÖHNE (ES-KERAMIK) RED ON BLACK PETAL DECOR TABLE LAMP","price":795.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20240504_145327-01.jpg?v=1714854696"},{"product_id":"pinecone-table-lamp-with-pastel-stripes-attributed-to-ivo-de-santis-for-gli-etruschi","title":"PINECONE TABLE LAMP ATTRIB. IVO DE SANTIS FOR GLI ETRUSCHI","description":"\u003cp\u003eA substantial, hand-built, pinecone table lamp in the Etruscan tradition, attributed to Ivo de Santis for GLI ETRUSCHI. Decorated with pale pastel stripes of blue and yellow encircling its base, the lamp has been paired with a vintage blue shade.\u003c\/p\u003e\n\u003cp\u003eCeramic pine cones are often seen in Sicily on balconies, walls, or next to gates. The pine stands for health and vitality and, as an evergreen, constant renewal and immortality. With its hundreds of seeds, its cone represents fertility and, in turn, prosperity.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eIVO DE SANTIS\u003c\/b\u003e opened his Tuscan pottery studio in Florence in the early 1950s. Very little is known about his biography—or indeed about the history of the workshop, which, presumably in a nod to his heritage, he named GLI ETRUSCHI (the Etruscans). It seems fairly certain that the bulk of its output was exported, as it is unusual to find GLI ETRUSCHI items in Italy. The work of de Santis became very popular in the US in the 1960s and was widely distributed by the American importers Raymor and Rosenthal-Netter. His artistry quickly became well-known for its bold and quirky creativity.\u003c\/p\u003e\n\u003cp\u003eThe products of GLI ETRUSCHI were exclusively hand-built and generally fell into three main categories: small figurines, animal and human; slab-built and wheel-thrown vessels (often altered or combined); and whimsical objets d’art, sometimes decorated with implanted metal wires and dripping in acid-colored glazes (often in striking combinations) or muted pastels. The pieces were rarely signed and were mostly labeled with foil stickers, few of which survived. Happily, de Santis’s creations are readily recognizable by their distinctly original style.\u003c\/p\u003e\n\u003cp\u003eDe Santis was a friend of Marcello Fantoni (1915-2011), and his pottery compares favorably with that of his fellow Florentine master as well as with that of their Italian contemporary, Guido Gambone (1909-1969). Equally inspired by ancient Etruscan forms and mid-20\u003csup\u003eth\u003c\/sup\u003e century art styles—particularly abstract expressionism, pop, and color field painting—it was de Santis’ genius to combine these influences, producing ceramic artworks that were all his own.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eIVO DE SANTIS (attrib.)\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eGLI ETRUSCHI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eTUSCAN; MID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC, TEXTILE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eALABASTER, ROBIN'S EGG, LIGHT YELLOW\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e14\" DIAM. × 27\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46192001908923,"sku":"PINECONE TABLE LAMP WITH PASTEL STRIPES ATTRIBUTED TO IVO DE SANTIS FOR GLI ETRUSCHI","price":850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20240525_131414_2e6221bd-1afd-414f-9a51-0afe1d4095b2.jpg?v=1716662487"},{"product_id":"hand-thrown-alvino-bagni-white-on-tan-table-lamp","title":"HAND-THROWN ALVINO BAGNI WHITE ON TAN TABLE LAMP","description":"\u003cp\u003eA worthy, mid-century Alvino Bagni table lamp from the 1960s. An intricate wax-resist process carves out a grid of square tiles in the smooth, glossy white top glaze, which stands out in slight relief from a pebbly, brown and tan background. The horizontal rows of the grid house bands of rings that encircle the lamp; the individual rings appear to twist in unison on vertical axes. This modest optical effect is visually dynamic without being overwhelming. 27\" to the top of the shade.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eALDO LONDI (1911-2003)\u003c\/b\u003e was one of Italy’s most celebrated master ceramists. He spent most of his long and successful career creating exceptional works of great art and craft for the Italian ceramics firm Bitossi Ceramiche. He thought of himself as a \"Man of Work\" (Uomo di Lavoro) who focused on discovery rather than pure invention.\u003c\/p\u003e\n\u003cp\u003eJust outside of Florence, Londi’s hometown of Montelupo Fiorentino had been an important center of pottery production in Tuscany since the Renaissance. At the age of eleven, in 1922, Londi went to work for the region’s then-premier ceramics workshop, Fratelli Fanciullacci (Fanciullacci Bros.). There, he would master the time-honored methods of the local industry. Following WW II—upon his return to Italy from South Africa, where he was held captive as a prisoner of war—Londi became creative director at a second Montelupo manufactory, Bitossi Ceramiche. He would retain the position for more than 50 years.\u003c\/p\u003e\n\u003cp\u003eLondi’s high-level technical expertise and vast experience in traditional artisanal methods allowed him to create distinctively expressive and whimsical forms and finishes for Bitossi. His best-known collection is perhaps the 1950s-era \u003ci\u003eRimini Blu\u003c\/i\u003e, a now-iconic midcentury series that encompasses over 150 designs. The décor is a vibrant blue, densely embossed with abstract shapes and motifs that often create a frieze—fantastic loops of geometric elements endlessly chasing each other, enhanced by touches of green and cobalt. This proprietary decoration holds historical importance as it helped to bring handcrafted works into the modernist design conversation in Italy. Although not the only color Londi utilized, blue has become closely associated with his work. Londi’s last solo collection, \u003ci\u003eARKitectura\u003c\/i\u003e, is a striking exception—it features elegantly minimalistic animal figures—fish, cats, shorebirds—glazed in monochromatic black, white, or platinum.\u003c\/p\u003e\n\u003cp\u003eStarting in 1958, Londi began a fruitful collaboration with the legendary architect-designer Ettore Sottsass (1917-2007), who considered Londi an important mentor. During his tenure with Bitossi, Londi would also work with Italian artist and designer Piero Fornasetti (1913-1988), Italian architect and designer Matteo Thun (b. 1952), and Egyptian-American industrial designer Karim Rashid (b. 1960).\u003c\/p\u003e\n\u003cp\u003eMost of Londi’s collections are still in production today and are widely collected by ceramics enthusiasts. Many of his original works can be seen at the MAIB–Artistic Industrial Bitossi Museum in Montelupo, which is dedicated to the history of the company.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eBITOSSI CERAMICHE\u003c\/b\u003e was established in 1921 as Manifattura Ceramica Cav. Guido Bitossi \u0026amp; Figli by Guido Bitossi in Montelupo Fiorentino—a medieval hilltop Tuscan town with an ancient tradition of ceramic production, located a few kilometers outside Florence. The Bitossi family, documented in the area as early as 1536, had for centuries worked there as sculptors, as painters, but especially as potters. In the 20\u003csup\u003eth\u003c\/sup\u003e century, under Guido’s leadership, they would introduce an extraordinary stylistic and formal renewal of their craft.\u003c\/p\u003e\n\u003cp\u003eIn the late 1940s, the master ceramist Aldo Londi (1911-2003) was named creative director at BITOSSI CERAMICHE. He would hold the position for more than 50 years and would design over 1,000 objects for the company. Himself a Montelupo native, Londi brought to BITOSSI a deep expertise in the traditional production of ceramics. At the same time, he keenly appreciated the streamlined forms of the mid-century moment. He is perhaps best known for his \u003ci\u003eRimini Blu\u003c\/i\u003e collection, an iconic series comprised of over 150 designs; it is still in production today and widely collected by enthusiasts.\u003c\/p\u003e\n\u003cp\u003eDuring Londi’s tenure, BITOSSI collaborated successfully with a host of famous designers, including the legendary architect-designer Ettore Sottsass (1917-2007). An avatar of 1960s counter-culture, Sottsass thought design should be provocative and sensual, and his avant-garde style blended well with BITOSSI’s mid-century aesthetic. Besides Sottsass, BITOSSI partnered with designers Piero Fornasetti, Karim Rashid, Arik Levy, Fabio Novembre, Benjamin Hubert, Matteo Thun, Monica Förster, and Cédric Ragot.\u003c\/p\u003e\n\u003cp\u003eToday, BITOSSI CERAMICHE is justly considered an institution. The Bitossi family and its foundation have amassed an archive of over 7,000 historical documents and materials related to the production of ceramics. The assemblage is housed in the Bitossi Artistic Industrial Museum in Montelupo. In 2014, BITOSSI became an official member of the Registry of Italian Historical Companies, appointed by the Italian National Union of Chambers of Commerce.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eMan does not create... he discovers.\u003c\/i\u003e – ALDO LONDI\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eALVINO BAGNI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eUNKNOWN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1960s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eWHITE, COFFEE, TAN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE “A” PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eVery good vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e16\" DIAM. × 28\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":46259553173691,"sku":"HAND-THROWN ALVINO BAGNI WHITE ON TAN TABLE LAMP","price":750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20240525_110227_3cab1572-dbcb-4a5a-8720-e2d51fb86bcf.jpg?v=1721520200"},{"product_id":"kopra-burst-pendant-fixture-nr-433-by-david-weeks","title":"‘KOPRA BURST’ PENDANT LIGHT FIXTURE Nr. 433 BY DAVID WEEKS","description":"\u003cp\u003eFrom the studio of David Weeks, a chandelier-inspired \u003ci\u003eKopra Burst\u003c\/i\u003e pendant fixture. The explosive reach of its bubbling, modernist composition would boldly enliven any interior.\u003c\/p\u003e\n\u003cp\u003eAt once space-age and timeless, organic and otherworldly, the \u003ci\u003eKopra Burst\u003c\/i\u003e comprises a balanced arrangement of fifteen differently-sized \u003ci\u003eBoi\u003c\/i\u003e shades suspended from a steel drop and mounted to powder-coated arms of varying lengths. The steel \u003ci\u003eBoi\u003c\/i\u003e shades (a Weeks signature) exemplify the designer’s use of “formal reduction,” whereby elementary shapes such as cones and spheres have been carved into to produce more obscure profiles. They feature openings at both the top and the bottom, allowing light to flow through, and rotate 320° for multidirectional illumination.\u003c\/p\u003e\n\u003cp\u003eA vibrant rejection of conventional expectations, the \u003ci\u003eKopra Burst\u003c\/i\u003e arguably represents the height of statement-making sculptural modernism in lighting.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDAVID WEEKS (b. 1968)\u003c\/b\u003e is an American designer of lighting, furniture, and home goods. He was a pioneering figure in the burgeoning Brooklyn design movement at the end of the last century and is widely regarded as a founding father of modern North American lighting design.\u003c\/p\u003e\n\u003cp\u003eBorn in Madison, Wis., and raised in Athens, Ga., Weeks studied painting and sculpture at the prestigious Rhode Island School of Design, earning his BFA in 1990. He then worked in the Manhattan atelier of nature-inspired jewelry designer Ted Muehling (b. 1953)—before founding a studio of his own in 1996.\u003c\/p\u003e\n\u003cp\u003eSince his earliest roots in Brooklyn’s artsy DUMBO neighborhood, Weeks has been celebrated for genre-defining work and a distinctly hands-on, sculpturally creative process that explores scale and proportion, balance, and movement. His lighting designs are especially known for their gravity-defying minimalism.\u003c\/p\u003e\n\u003cp\u003eIn addition to lighting, he creates furniture, textiles, home goods, and wooden toys—often in collaboration with such partners as Roll \u0026amp; Hill, Moroso, Tala, Habitat, and Areaware. His award-winning pieces have been exhibited in Milan, Paris, London, and New York City and are installed in high-profile commercial locations and private collections worldwide.\u003c\/p\u003e\n\u003cp\u003eWeeks served as an adjunct professor at Parsons School of Design from 1998-2006, and, in 2002, he was a visiting critic at Yale. He was featured in the 2003 Cooper-Hewitt’s National Design Triennial: Inside Design Now; in 2004, he was one of seven designers chosen to represent New York at Berlin’s \u003ci\u003e7+7 Designmai\u003c\/i\u003e exhibit. In 2005, Weeks was invited to judge \u003ci\u003ei-D\u003c\/i\u003e Magazine’s Annual Design Review. In April 2006, he made his second appearance in the Metropolitan Home Design 100, and, in 2007, he was nominated for a second Cooper-Hewitt National Design Award.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDAVID WEEKS STUDIO\u003c\/b\u003e was founded in 1996 in the Clinton Hill neighborhood of north-central Brooklyn, N.Y., as the designer David Weeks’ eponymous workshop. It specializes in the production of lighting and furniture for both commercial and residential purposes. It is renowned in particular for its large-scale sculptural lighting, much of which is handmade by a team of designers, engineers, and artisans in a process that marries artistic sensibility with technical precision.\u003c\/p\u003e\n\u003cp\u003eThe studio was a celebrated fixture of Brooklyn’s late 20\u003csup\u003eth\u003c\/sup\u003e-century independent design movement. Its commissioned projects have included establishments such as Barneys New York, Saks Fifth Avenue, and the MGM Grand and Hard Rock Hotel in Las Vegas.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eInevitably, you rely on simplicity for the answers.\u003c\/i\u003e – DAVID WEEKS\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eDAVID WEEKS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e2000s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eDAVID WEEKS STUDIO\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e2000s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eUSA\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003ePOSTMODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eSTEEL\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eBLACK\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), HARDWIRED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e52\" DIAM. × 22\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"KRISTEN MILLER","offers":[{"title":"Default Title","offer_id":46588036382907,"sku":"'KOPRA BURST' PENDANT LIGHT FIXTURE Nr. 433 BY DAVID WEEKS","price":8500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/20250417_125408470_1.jpg?v=1750536271"},{"product_id":"monumental-hand-turned-ceramic-table-lamp-in-the-abstract-decor-designed-by-aldo-londi-for-bitossi-ceramiche-montelupo-italy","title":"MONUMENTAL HAND-TURNED CERAMIC TABLE LAMP IN THE ‘ABSTRACT’ DÉCOR BY ALDO LONDI FOR BITOSSI CERAMICHE","description":"\u003cp\u003eA truly monumental table lamp designed by the very well-known and prolific ceramics artist, Aldo Londi. Its body was produced in 1976 by BITOSSI CERAMICHE of Italy for export to the US by the Raymor Company and has a 9\" diameter. In beautiful shades of blue and green, the surface is decorated with the sgraffito hashmarks of Londi’s famous \u003ci\u003eAbstract\u003c\/i\u003e décor. As stunning as it is collectible.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eALDO LONDI (1911-2003)\u003c\/b\u003e was one of Italy’s most celebrated master ceramists. He spent most of his long and successful career creating exceptional works of great art and craft for the Italian ceramics firm Bitossi Ceramiche. He thought of himself as a \"Man of Work\" (Uomo di Lavoro) who focused on discovery rather than pure invention.\u003c\/p\u003e\n\u003cp\u003eJust outside of Florence, Londi’s hometown of Montelupo Fiorentino had been an important center of pottery production in Tuscany since the Renaissance. At the age of eleven, in 1922, Londi went to work for the region’s then-premier ceramics workshop, Fratelli Fanciullacci (Fanciullacci Bros.). There, he would master the time-honored methods of the local industry. Following WW II—upon his return to Italy from South Africa, where he was held captive as a prisoner of war—Londi became creative director at a second Montelupo manufactory, Bitossi Ceramiche. He would retain the position for more than 50 years.\u003c\/p\u003e\n\u003cp\u003eLondi’s high-level technical expertise and vast experience in traditional artisanal methods allowed him to create distinctively expressive and whimsical forms and finishes for Bitossi. His best-known collection is perhaps the 1950s-era \u003ci\u003eRimini Blu\u003c\/i\u003e, a now-iconic midcentury series that encompasses over 150 designs. The décor is a vibrant blue, densely embossed with abstract shapes and motifs that often create a frieze—fantastic loops of geometric elements endlessly chasing each other, enhanced by touches of green and cobalt. This proprietary decoration holds historical importance as it helped to bring handcrafted works into the modernist design conversation in Italy. Although not the only color Londi utilized, blue has become closely associated with his work. Londi’s last solo collection, \u003ci\u003eARKitectura\u003c\/i\u003e, is a striking exception—it features elegantly minimalistic animal figures—fish, cats, shorebirds—glazed in monochromatic black, white, or platinum.\u003c\/p\u003e\n\u003cp\u003eStarting in 1958, Londi began a fruitful collaboration with the legendary architect-designer Ettore Sottsass (1917-2007), who considered Londi an important mentor. During his tenure with Bitossi, Londi would also work with Italian artist and designer Piero Fornasetti (1913-1988), Italian architect and designer Matteo Thun (b. 1952), and Egyptian-American industrial designer Karim Rashid (b. 1960).\u003c\/p\u003e\n\u003cp\u003eMost of Londi’s collections are still in production today and are widely collected by ceramics enthusiasts. Many of his original works can be seen at the MAIB–Artistic Industrial Bitossi Museum in Montelupo, which is dedicated to the history of the company.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eBITOSSI CERAMICHE\u003c\/b\u003e was established in 1921 as Manifattura Ceramica Cav. Guido Bitossi \u0026amp; Figli by Guido Bitossi in Montelupo Fiorentino—a medieval hilltop Tuscan town with an ancient tradition of ceramic production, located a few kilometers outside Florence. The Bitossi family, documented in the area as early as 1536, had for centuries worked there as sculptors, as painters, but especially as potters. In the 20\u003csup\u003eth\u003c\/sup\u003e century, under Guido’s leadership, they would introduce an extraordinary stylistic and formal renewal of their craft.\u003c\/p\u003e\n\u003cp\u003eIn the late 1940s, the master ceramist Aldo Londi (1911-2003) was named creative director at BITOSSI CERAMICHE. He would hold the position for more than 50 years and would design over 1,000 objects for the company. Himself a Montelupo native, Londi brought to BITOSSI a deep expertise in the traditional production of ceramics. At the same time, he keenly appreciated the streamlined forms of the mid-century moment. He is perhaps best known for his \u003ci\u003eRimini Blu\u003c\/i\u003e collection, an iconic series comprised of over 150 designs; it is still in production today and widely collected by enthusiasts.\u003c\/p\u003e\n\u003cp\u003eDuring Londi’s tenure, BITOSSI collaborated successfully with a host of famous designers, including the legendary architect-designer Ettore Sottsass (1917-2007). An avatar of 1960s counter-culture, Sottsass thought design should be provocative and sensual, and his avant-garde style blended well with BITOSSI’s mid-century aesthetic. Besides Sottsass, BITOSSI partnered with designers Piero Fornasetti, Karim Rashid, Arik Levy, Fabio Novembre, Benjamin Hubert, Matteo Thun, Monica Förster, and Cédric Ragot.\u003c\/p\u003e\n\u003cp\u003eToday, BITOSSI CERAMICHE is justly considered an institution. The Bitossi family and its foundation have amassed an archive of over 7,000 historical documents and materials related to the production of ceramics. The assemblage is housed in the Bitossi Artistic Industrial Museum in Montelupo. In 2014, BITOSSI became an official member of the Registry of Italian Historical Companies, appointed by the Italian National Union of Chambers of Commerce.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003e\u003ci\u003eMan does not create... he discovers.\u003c\/i\u003e – ALDO LONDI\u003c\/b\u003e\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e\u003cb\u003eDETAILS\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesigner – \u003cb\u003eALDO LONDI\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDesign Period\/Year – \u003cb\u003e1970s\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaker – \u003cb\u003eBITOSSI CERAMICHE\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eProduction Period\/Year – \u003cb\u003e1976\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eOrigin – \u003cb\u003eITALY\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eStyles\/Movements – \u003cb\u003eMID-CENTURY MODERN\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eMaterials – \u003cb\u003eCERAMIC\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eColors – \u003cb\u003eCORNFLOWER, LIGHT GREEN, INK, \u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eShade – \u003cb\u003eINCLUDED\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003ePower – \u003cb\u003eUP TO 120V (US STANDARD), CORDED, TYPE “A” PLUG\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eCondition – \u003cb\u003eExcellent vintage condition. May show minor signs of previous ownership and use.\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eDimensions – \u003cb\u003e22\" DIAM. × 43\" H\u003c\/b\u003e\u003c\/p\u003e","brand":"MODERN REDUX","offers":[{"title":"Default Title","offer_id":47183724183739,"sku":"MONUMENTAL HAND-TURNED CERAMIC TABLE LAMP IN THE \"ABSTRACT\" DECOR, DESIGNED BY ALDO LONDI FOR BITOSSI CERAMICHE, MONTELUPO, ITALY","price":2200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/files\/rn-image_picker_lib_temp_b75b509f-2170-40b0-9d24-55c68f04ec69.jpg?v=1763846894"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2159\/9561\/collections\/images_c6846011-aa92-4961-a67f-509dcf6c936f.jpg?v=1660344518","url":"https:\/\/modernredux.myshopify.com\/collections\/lighting.oembed","provider":"MODERN REDUX","version":"1.0","type":"link"}